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CRITIC SCORE DISTRIBUTION | ||
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Positive:
39
Mixed:
9
Negative:
0
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Critic Reviews
Aug 13, 2019
Season 2 Review:
The series doesn’t minimize the internees’ hardships, even if it somewhat underplays them. But it’s also a little strange to see the only major piece of pop culture about Japanese-American incarceration imply that its characters have even scarier things to worry about.
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Aug 12, 2019
Season 2 Review:
Long stretches of this season of The Terror don’t quite work, but you always appreciate the attempt to confront an era that has largely been avoided in American popular culture—one that now comes bubbling up through our collective subconscious like a monster visible beneath layers of ice.
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ColliderAug 12, 2019
Season 2 Review:
It’s a well-crafted, beautifully made season, and while the scares themselves may not measure up to the stunning genre work in Season 1, Infamy firmly establishes The Terror as a worthy anthology rooted in the terrors of the human condition, capable of evolving into as many horrors as the human mind can hold.
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Mar 22, 2018
Season 1 Review:
The Terror’s biggest problem is that it apparently wants to be a taut, atmospheric chamber piece in which the psychological pressures on a set of stranded men lead them to pursue ever more desperate and unpredictable actions. But there’s too much slackness in the narrative for The Terror’s core dilemmas--or people--to become truly enthralling. Though it depicts extreme conditions, The Terror is a little on the tepid side emotionally.
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Mar 26, 2018
Season 1 Review:
Harris is especially terrific as a man growing into his own heroism even as forces mortal and not so mortal conspire against him. But as the 10 episodes unspool and the body count mounts, the only dread you may experience watching The Terror is that feeling you are wasting your time.
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RogerEbert.comMay 7, 2026
Season 3 Review:
Despite some ever-timely themes about the inequity and systemic failures of the mental health system in this country, “Devil in Silver” feels flat, likely a factor of being too faithful to its source (LaValle himself gets writer credit, which is often a mistake) or a rushed production that never quite found its voice on set.
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The TelegraphMay 6, 2022
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