Mary McNamara

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For 582 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.4 points lower than other critics. (0-100 point scale)

Mary McNamara's Scores

Average review score: 62
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Negative: 66 out of 582
582 tv reviews
    • 55 Metascore
    • 60 Mary McNamara
    All of which adds up to a nice, moody, entertaining-enough hour and the troublesome question of how interesting this will be by the third episode.
    • 42 Metascore
    • 60 Mary McNamara
    Created by Dan Fogelman it is enjoyable if not impressive--not bad, and almost good.
    • 57 Metascore
    • 60 Mary McNamara
    Comparisons to Barry Levinson's "Sleepers" are inevitable, but with its cartoonish villains, hideously ritualized crimes and general plot-stomping, it is far more reminiscent of all those pulpy TV movies in the late '70s, in which a depraved warden/sheriff abused those in his care. Strangely, this is its greatest strength.
    • 56 Metascore
    • 60 Mary McNamara
    Much of it feels dreadfully slow, not so much moody as stretched for time....Things do pick up significantly with the arrival of Christopher Heyerdahl as John Druitt.
    • 52 Metascore
    • 60 Mary McNamara
    The crimes of the first four episodes revel in plot twists and medical conditions so ludicrous that they eventually become endearing, as does, against all odds, McCormack's performance.
    • 59 Metascore
    • 60 Mary McNamara
    A cleverly conceived, at times visually lovely, but criminally long imagining of how Peter became Pan.
    • 62 Metascore
    • 60 Mary McNamara
    American Horror Story is a big ol' brooding, baffling, ridiculous and occasionally compelling mess of a show.
    • 72 Metascore
    • 60 Mary McNamara
    Every pilot is burdened with establishing character, jump-starting the narrative and hooking the audience, but Under the Dome unnecessarily force-feeds us its first hour to its own detriment.... Which isn't to say Under the Dome won't wind up being fun to watch. All of the performances seem promising.
    • 56 Metascore
    • 60 Mary McNamara
    Even just a half hour in, it's difficult not to wish everyone would just lighten the heck up. The graphic novel noir feel is becoming increasingly oppressive, and everyone is just so grim.
    • 52 Metascore
    • 60 Mary McNamara
    Much of "Drive" is unabashedly derivative.... Much of it is also unbelievable... But two episodes in, it doesn't really matter.
    • 54 Metascore
    • 60 Mary McNamara
    Pretty Little Liars is one of those shows that manages to mildly, and perhaps unintentionally, spoof its genre while fully participating in it, and that's not a bad thing at all.
    • 46 Metascore
    • 60 Mary McNamara
    This Napoleon Dynamite is all go, go, go, racing, if nothing else, to keep pace with the host of other animated prime-time shows it joins.
    • 74 Metascore
    • 60 Mary McNamara
    The Tudors remains lush and bejeweled, so much so that at times one fears it will simply collapse under its own weight, and, you know, we still have a few wives to go.
    • 50 Metascore
    • 60 Mary McNamara
    After watching two episodes, I was left with the thought with which I began: An iconic apartment building full of wacky characters would make a great TV show. Would, though. Not does.
    • 52 Metascore
    • 60 Mary McNamara
    Texas Rising is tonally challenged in a way that regularly undercuts its own inherent drama.
    • 77 Metascore
    • 60 Mary McNamara
    It's a grand if inconsistent experiment that, from the moment it opens with a definition of magic realism, wears its considerable ambitions on its sleeve.
    • 69 Metascore
    • 60 Mary McNamara
    In theory, Southland could turn out to be a rich and textured cross between, say, "Hill Street Blues" and "Crash" with a little "Training Day" on the side, but the pilot, for all its horrific crimes and grimy street scenes, is strangely bland.
    • 76 Metascore
    • 60 Mary McNamara
    Bogged down at times by moody re-creations (often unforgivably accompanied by the strains of a muted trumpet) and endless footage of Bin Laden, Manhunt is not a definitive telling either. Indeed, its strength lies in its awareness that there is no way to completely tell this particular story.
    • 66 Metascore
    • 60 Mary McNamara
    A cynic might think Twisted is a bald attempt to capitalize on the success of "Pretty Little Liars" while possibly adding a Y chromosome to the mix. The non-cynic might see in Danny yet another metaphor for the alienation and "otherness" many teens feel.
    • 70 Metascore
    • 60 Mary McNamara
    With any luck, subsequent episodes will find a sharper, cleaner stride. All the elements are there, it's just the alchemy that seems a bit off.
    • 51 Metascore
    • 60 Mary McNamara
    Some of the best shows on television are character-driven procedurals, but Borenstein seems so eager to establish the procedural that he underplays the characters.
    • 49 Metascore
    • 60 Mary McNamara
    It is something less than magical, but it's pleasant and pretty and easy to watch.
    • 70 Metascore
    • 60 Mary McNamara
    Not surprisingly, given the scope of the show, some topics are nailed brilliantly--Chanel, the airport security agent, is perhaps among the greatest TV characters in recent history, and the adoption of an American child by an African actress is equally hilarious--while others, like local newscaster Alvarez or the pregnant senior citizen, are flat and trite or flat and weird.
    • 49 Metascore
    • 60 Mary McNamara
    It's the fabulous shamelessness, the awful and yet admirable brilliance of the thing. Whether Palin will ever run for office or not, Sarah Palin's Alaska sets a new standard for political ads.
    • Los Angeles Times
    • 59 Metascore
    • 60 Mary McNamara
    When it's not being completely ridiculous, Chasing Life is very good.
    • 73 Metascore
    • 60 Mary McNamara
    This may not be as touching as "Every time a bell rings, an angel gets his wings," or "God bless us every one," and it may resonate much more with the parents than the kids, but for a Christmas special about an ogre who may have overstayed his 15 minutes, it's actually not too bad.
    • 65 Metascore
    • 60 Mary McNamara
    Although overblown in message and action, The Bridge is well-performed and worth watching if only to see if it will stand by its thesis: that real change comes from people working together.
    • 59 Metascore
    • 60 Mary McNamara
    Skidding through twists and turns aplenty, the intentionally soapy plot generates a lot of fun froth, but Gellar has a hard time playing one troubled and complicated woman, much less two.
    • 52 Metascore
    • 60 Mary McNamara
    The Gates, on the other hand, starts off with an even greater number of well-worn characters and storylines, but writers Richard Hatem and Grant Scharbo infuse them with a lot more life and a surprisingly high incidence of poignancy.
    • 53 Metascore
    • 60 Mary McNamara
    Zwick and Herskovitz do capture the sweet self-absorption of youth--love is never truer, dreams never dearer and life never as complicated as it is when you are 24--it's just that it all feels so familiar when we were so hoping for something new and exciting.
    • 74 Metascore
    • 60 Mary McNamara
    There are many fine moments in 'Klondike,' cinematic scenes of grandeur and dialogue that rise to poetry. But too often both then fall prey to self-conscious staginess, many repetitive scenes of dirt and endless conversations about the animal nature of man.
    • 54 Metascore
    • 60 Mary McNamara
    It is nowhere near as smart as "White Collar" or as strangely touching as "Necessary Roughness" and seems content to hit well-worn marks, though more than occasionally with welcome style.
    • 74 Metascore
    • 60 Mary McNamara
    But for all its dramatic pulse, historic details and narrative twists, Underground simply takes too long to get going; it isn't until the fourth episode that the show's real story, and potential, reveal themselves.
    • 89 Metascore
    • 60 Mary McNamara
    Larry is getting a little ridiculous... and a little too mean even for Larry. [7 Sep 2007]
    • Los Angeles Times
    • 65 Metascore
    • 60 Mary McNamara
    A very far cry from O’Brien’s lanky swagger or Leno’s self-confident poise and, to be frank, the whole "who, me? host 'The Tonight Show?'" seemed laid on a bit thick in parts.... Once Fallon moved behind the desk, and in front of a truly fabulous wooden miniature of New York, he seemed more comfortable.... After presenting Fallon with his own (red) guitar, [U2] sang an acoustic version of their Oscar-nominated “Ordinary Love,” which sounded, as so few late-night performances do, just fabulous. And that is where Fallon will make his mark on the show.
    • 73 Metascore
    • 60 Mary McNamara
    Creator Kyle Killen and executive producers Amy Lippman and Christopher Keyser (the latter two best known for "Party of Five") are betting that the callow charm of their leading man, shored up by tailor-made roles for Keith and Jon Voight, who plays gimlet-eyed oil tycoon Clint Thatcher, will overcome the ridiculousness of the setup.
    • 62 Metascore
    • 60 Mary McNamara
    For fans of the canon, South Riding is "Masterpiece" comfort food, enjoyable enough in the moment, but melting away to nothing but sugar and fat by morning.
    • 54 Metascore
    • 60 Mary McNamara
    Hirsch is, as usual, wonderful and more than capable of taking Abraham's story line wider and deeper than well-meaning banter and bromides assigned him, but in early episodes the story seems determined to showcase its more predictable aspects.
    • 60 Metascore
    • 60 Mary McNamara
    OK, it's not Chekhov or even "How I Met Your Mother," to which it will inevitably be compared, but it's a lot better than the I'll-do-anything-for-pizza jokes that precede it.
    • 62 Metascore
    • 60 Mary McNamara
    There is much to like and learn from the miniseries. Alas, executive producer Stephen David and his creative team seem intent on getting in their own way, cluttering up the inevitably fascinating narrative (offered here by Jeremy Renner) with all manner of clunky historical reenactments, hyperbolic characterizations and a soundtrack that should be shot for treason.
    • 60 Metascore
    • 60 Mary McNamara
    Where "The Returned" was content to tell its story in elliptical scenes and character sketches, Resurrection keeps them tightly tied together and bound to an investigative uber-narrative--Marty and Maggie are partners in detection with the requisite possibility of romance. The result is a lot of narrative that often strays too far from the original and much more provocative conceit: Hey, we see dead people.
    • 48 Metascore
    • 60 Mary McNamara
    A more than occasionally funny show in which Gabi (Emily Osment), an appealing but financially challenged food blogger, becomes personal chef to Josh (Jonathan Sadowski), an appealing but romantically challenged tech-ionaire.
    • tbd Metascore
    • 60 Mary McNamara
    The collective IQ of the cast is noticeably higher than on the "Real Housewives" while the vitriol is lower.
    • 57 Metascore
    • 60 Mary McNamara
    A fast-paced, sure-footed pilot that tells the same essential story as the film.... Carpenter and whatever chemistry the two leads have will not be enough to separate Limitless from the stack of new and returning high-concept procedurals.
    • 42 Metascore
    • 60 Mary McNamara
    Despite the frantic and at times clunky initial execution, there are times when The Mob Doctor shows signs of transcending the typical doc-with-something-extra medical procedural.
    • 60 Metascore
    • 50 Mary McNamara
    The sets are terrific, as are the costumes, and the rich and saturated moodiness of the production values makes the tepidness of the story all the more disappointing.
    • 45 Metascore
    • 50 Mary McNamara
    It's a noble goal and one hopes that after viewing School Pride, volunteers spring up, committees form and checks are written. Because to merely watch the show and wallow in its many throat-tightening moments would be to remain a voyeur, and then you're just part of the problem.
    • 67 Metascore
    • 50 Mary McNamara
    What Swank doesn't bring is any sort of emotional connection, either to Mary, Mary's son or the audience.... Mercifully, Blethyn eventually joins her on the screen and is, as ever, simple perfection, needing to do little more than utter two words with an anguished squint to break your heart into 50 million pieces. When the two meet up, Mary and Martha begins to transcend the drumbeat of its message.
    • 56 Metascore
    • 50 Mary McNamara
    If you can live through the ridiculous hustle-forward, no-looking introduction to the story, what follows is entertaining enough, albeit in a mildly campy way.
    • 67 Metascore
    • 50 Mary McNamara
    Unfortunately, without a more solid platform, even the greatest performance can go only so far. Oyelowo is mesmerizing in the moment, but each moment dies behind him.
    • 61 Metascore
    • 50 Mary McNamara
    Between Sherri's grouchy father, adorable son and hapless ex, all the stereotypes seem to be running on full steam. It's a less-than-stellar debut, but a body set in motion will stay in motion unless acted upon by an outside force, and it's hard to imagine the outside force that's going to slow Sherri Shepherd down any time soon.
    • 78 Metascore
    • 50 Mary McNamara
    Unfortunately, so smitten are the creators of John Adams with historical earnestness and pedigree they seem to have forgotten how to tell a good story.
    • 66 Metascore
    • 50 Mary McNamara
    With a shorter to-do list and more ruthless editing--far too much time is spent in close-ups on the hosts--Showville could be as good in fact as it is in theory.
    • 51 Metascore
    • 50 Mary McNamara
    Crude stuff for a family newspaper, but despite the warm-and-fuzzy-celebrity cred that star Courteney Cox brings to it, some funny lines and good acting all around, Cougar Town is a crude show, built on jokes about oral sex and droopy breasts, a show in which words like "coochie" are used with regrettable abandon.
    • 56 Metascore
    • 50 Mary McNamara
    What viewers are left with, then, are some excellent fight and chase scenes, an outstanding supporting cast (who, alas, only highlight the main character's deficiencies) and a lot of truly beautiful location work. It may be enough, but it could, and should, have been so much more.
    • 70 Metascore
    • 50 Mary McNamara
    Kyle gives Outcast dimension, but Anderson makes it vital. Unfortunately, the crowded script slows them down. Too often, Outcast, like it’s demons, depends on the terrifying seductions of possession to hold our attention.
    • 66 Metascore
    • 50 Mary McNamara
    It's clear that Wells has nothing but respect for the original material; if only he felt the same for American viewers. Unfortunately, [executive producer John Wells] seems to have bought into the notion that Americans need everything to be bigger, louder, messier and drawn in primary colors.
    • 64 Metascore
    • 50 Mary McNamara
    It is, by turns, hilarious and histrionic, illuminating and infuriating.
    • 46 Metascore
    • 50 Mary McNamara
    Unfortunately, though Wilson remains gorgeously fearless in her willingness to go all in, neither the network nor Wilson (she is an executive producer) know quite what to do with that.
    • 58 Metascore
    • 50 Mary McNamara
    Lopez does a decent enough job--on top of the single-mom angle, Harlee also has a traumatic back story--but it's Liotta who will make or break Shades of Blue.
    • 64 Metascore
    • 50 Mary McNamara
    Where once Nip/Tuck crackled, it now whines and sighs; where once it shocked, it now plays nice.
    • 57 Metascore
    • 50 Mary McNamara
    Equal parts stupid and sweet, The Goodwin Games does not appear to be built for the long haul.
    • tbd Metascore
    • 50 Mary McNamara
    It's hard to tell from the premiere precisely what Latifah is going for here, besides the truly fabulous set that was, apparently, designed by Lenny Kravitz.
    • 52 Metascore
    • 50 Mary McNamara
    It's "House of Cards," with a werewolf/vampire hybrid instead of a charming but ruthless Southern senator.
    • 67 Metascore
    • 50 Mary McNamara
    It tries very hard not to take the expected path. Too hard, unfortunately. So determined are Hunt, executive producer/showrunner Jenny Bicks and Linney that The Big C be unsentimental that they jam early episodes with so many over-blown characters and wacky antics that it's impossible to attach meaning to any of them.
    • 52 Metascore
    • 50 Mary McNamara
    Certainly Olbermann is refreshing, and singular, in the clarity of his mission, which is to defend the liberal point of view with the same sort of take-no-prisoners rhetoric that conservative pundits like Bill O'Reilly have wielded so effectively. But the blatant uber-medianess of his persona seems, at times, in direct conflict with that belief that "the weakest citizen is more important than the strongest corporation."
    • 47 Metascore
    • 50 Mary McNamara
    The performances, in and of themselves, range from solid (King's) to inspired (Marshall's)....But taken together, there is both too much and too little going on.
    • 54 Metascore
    • 50 Mary McNamara
    Neither [Hirsch and Granger] offer any insight into what drove the couple, what they actually hoped to achieve, and what kept them going when it became clear that things were not going to end well. And History might have a little soul-searching to do; dramatic license should not mean Make a Huge Number of Important Plot Points Up.
    • 70 Metascore
    • 50 Mary McNamara
    There are many powerful scenes in The White Queen, moments that illustrate time and again how a woman's body was both her greatest tool and her inevitable prison; a man could control his fate by mind or sword, a woman can do it only by proxy. Unfortunately, they are surrounded by the misty, swampy lands of generic medievalness.
    • 65 Metascore
    • 50 Mary McNamara
    The fact remains that sword 'n' sheepskin is now a genre, and even if you are taking it back to its roots, you have to bring something new. Creators James Dormer, Tim Haines, and Katie Newman do not. Instead, they seem content to simply join the heroic hordes, relying on ever-improving CG and familiar modern tropes--the witty best friend, a couple of feisty women, court roiling with intrigue--to extend the narrative and cinematic limits of the original text.
    • 61 Metascore
    • 50 Mary McNamara
    Much of the first two episodes of Cristela feels dishearteningly retro.... Still, Alonzo is a pleasure to watch.
    • 43 Metascore
    • 50 Mary McNamara
    Hart of Dixie is a stack of familiar scenarios stitched together to form a pretty if not terribly substantial quilt, of the sort Zoe encounters in Bluebell.
    • 63 Metascore
    • 50 Mary McNamara
    An ambitious character-driven drama over-enamored from the get-go with its tricky structure and coy premise.
    • 64 Metascore
    • 50 Mary McNamara
    The turn and turn again structure is definitely appealing, albeit a bit self-conscious. The cast is terrific and LaBute knows his way around dialogue.... But watching guys hand-feed their inner cavemen from the table is not nearly as much fun as LaBute seems to think it is.
    • 58 Metascore
    • 50 Mary McNamara
    Despite the strength of its parts, the whole feels very nascent and shaky.
    • 67 Metascore
    • 50 Mary McNamara
    It's difficult to make cold-blooded and calculating people interesting and empathetic, and yet it must be done. Because fight scenes will take you only so far. Especially when there are no big dance numbers.
    • 63 Metascore
    • 50 Mary McNamara
    Vampire fantasy, murder mystery, star-crossed love story, political satire, True Blood is all and none of the above. Not quite funny, not quite scary, not quite thought-provoking, the show's attempt to question the roots of prejudice is continually undermined by its own stereotyping.
    • 50 Metascore
    • 50 Mary McNamara
    In attempting to be both sprawling and intimate, The Kennedys winds up in a narrative no-man's land.
    • 62 Metascore
    • 50 Mary McNamara
    Almost Human isn't terrible, it's just not terribly interesting, at least in the first hour.
    • 51 Metascore
    • 50 Mary McNamara
    Narrated by Stone with no other voices (save actors filling in for various world leaders), Untold History is a hodgepodge of terrific if often disturbing historical footage and bizarre theatrical asides (including, at one point, the dictionary definition of "empathy" spelled out on the screen) that are almost overwhelmed by its invasive soundtrack.
    • 62 Metascore
    • 50 Mary McNamara
    Banshee has has elements of "Justified," "Big Love," Ball's "True Blood" and, of course, the film "Witness." What it doesn't have, at least in the first two episodes, is anything new to say, about small towns, power, corruption, fear, crime or love.
    • 47 Metascore
    • 50 Mary McNamara
    There are moments when Of Kings and Prophets seems sincere and very timely in its examination of the tense and historically troubling relationship between politics and religion.... But those moments are few and far between, at least in early episodes, which seem more interested in proving once again that people are people no matter what the century or how true the script is to the time period.
    • 54 Metascore
    • 50 Mary McNamara
    The premiere is as by-the-numbers as it gets in the already bloated genre of moody procedural, enlivened only by a viciously scary killer and, of course, Sevigny, who roils in significant silence even when she is forced to reveal that her character is a cutter.
    • 67 Metascore
    • 50 Mary McNamara
    If this seems a hodgepodge of ideas, well, that is the general feel of Mankind--a scattershot catalog of man's greatest hits, lovingly enacted by a cast of grim and grimy thousands and propelled ever forward by a relentless soundtrack and urgent narration by Josh Brolin.
    • 65 Metascore
    • 50 Mary McNamara
    There's actually no reason this couldn't be a perfectly fine legal procedural, except there's no indication that anyone is attempting to make it one. The script is strictly writing by numbers.
    • 60 Metascore
    • 50 Mary McNamara
    If you are a fan of, say, "Little Britain" in Season 3, you will probably like "Little Britain USA." As for the uninitiated, well, I suppose it all comes down to a person's fondness for penis jokes.
    • 37 Metascore
    • 50 Mary McNamara
    Far more sentimental than thrilling--there are no real monsters under this hospital bed--it plays more like a mash-up of "A Gifted Man" and "The B- in Apartment 23."
    • 65 Metascore
    • 50 Mary McNamara
    At its best, The Sons of Liberty captures in admirable detail the cleverness of the rebels, in their smuggling efforts and ability to amass and hide guns and ammunition, their personal bravery and astonishing commitment to a long-odds pursuit. If only their intelligence and ideology had been given the same, or indeed any, attention.
    • 52 Metascore
    • 50 Mary McNamara
    For every ridiculous plot twist (it's hard to imagine any wife offering infidelity as a solution before, you know, "get a job" or "empty the dishwasher once in a while"), there is a lovely flash of honesty.
    • 58 Metascore
    • 50 Mary McNamara
    Even the best performers need time to pause and room to spread out. For The Family to become the deep and nuanced character drama it clearly wants to be, everyone needs to take a breath, perhaps join a support group, and slow the heck down.
    • 55 Metascore
    • 50 Mary McNamara
    By the end of the third episode (the premiere will include the first two), it is still not clear what The Bastard Executioner is about. It has many promising elements: evocative locations, a potentially fascinating time period (hey, everyone, the Black Death looms!) and a very strong cast (Matthew Rhys plays a rebel leader, and Timothy Murphy is a priest reminiscent of Derek Jacobi's "Cadfael")
    • 69 Metascore
    • 50 Mary McNamara
    Some of these bits work very well, albeit as free-floating shards of comedy.... But parody works best when its subject is either truly iconic or still relatively fresh in the minds of the audience and, mercifully, the B-list miniseries of yesteryear are neither.
    • 55 Metascore
    • 50 Mary McNamara
    So neither mess nor magic, which may be the biggest disappointment of them all. If it hadn’t been for Walken, that is, wandering around in that red bandanna and manic daze, banging his tambourine.
    • 57 Metascore
    • 50 Mary McNamara
    Early episodes are, regrettably, filled with television tropes. Still, Allegiance could evolve into the show it clearly hopes to be. But only if it plays to its strength, which is to say Hope Davis.
    • 54 Metascore
    • 50 Mary McNamara
    SEAL Team Six, though inevitably exciting in its conclusion and touching at times, refuses to commit either way. This failure of nerve not only dooms the film as both docu--and drama but also contradicts its main theme.
    • 66 Metascore
    • 50 Mary McNamara
    Everything is presented far too briefly. For all her geographic ambition, Alexandra Pelosi winds up conducting an exit poll rather than telling a real story.
    • 54 Metascore
    • 50 Mary McNamara
    The problem is that in the pilot and an early episode, the crimes are nowhere as compelling as the characters. For a show like "Castle" that dares to launch a more classic version into an already saturated and tarted-up market, the murders have to be as complicated and compelling as the push-me-pull-you glances between the main characters, and so far, they just aren't.
    • 46 Metascore
    • 50 Mary McNamara
    Cult has just the right amount of preposterous dialogue and clunky transitions to draw potential hate-watchers too, a bit of zeitgeist juggling that is both slightly nauseating and admirable.
    • 63 Metascore
    • 50 Mary McNamara
    Random wackiness is only as funny as the story that anchors it, and Kevin relies too much on our Skinnerian tendency to root for the underdog.
    • 68 Metascore
    • 50 Mary McNamara
    There are moments when Big Time in Hollywood, FL is very funny, indeed, and enough of them to form a bread crumb trail through the forest. But the forest can be pretty tough going when the trouble with your show lies with the leads. Jack and Ben are, of course, nowhere near as talented and fascinating as they think they are; that's part of the joke. Unfortunately, it's also true in the larger sense--the man-child slacker-artiste character is overfamiliar and trite, and neither Anfanger nor Jacobson knows how to transcend this.
    • 55 Metascore
    • 50 Mary McNamara
    The Cleveland Show is neither sweet nor particularly funny, neither a family comedy nor a true satire.
    • 46 Metascore
    • 50 Mary McNamara
    Tut
    It's fertile (crescent) ground for any writer, and, indeed, Michael Vickerman, Peter Paige and Bradley Bredeweg pull out all the stops. So many, in fact, that you wish they'd shove a few back in.
    • 58 Metascore
    • 50 Mary McNamara
    There is a family-hour charm among the many wooden performances and something to be said for the show's unapologetic comic book overtones. DC's Legends of Tomorrow wears its intentions, like its future tech, on its sleeve--you're either in for the ride or you're not, no character deconstruction or cinematic analysis required.
    • 54 Metascore
    • 50 Mary McNamara
    As if afraid they will be accused of not taking things seriously enough, the creators walk through much of the pilot as if through a minefield, which is to say ver-ry slowly and ver-ry carefully. Not the best pacing considering the subject matter.
    • 60 Metascore
    • 50 Mary McNamara
    Dane is fine and steady center for the drama; his Chandler can handle banter, bathos (Chandler left a wife and kids behind in the now plague-decimated States) and blather (some of the dialogue is less written than forked out of a can).... Still, The Last Ship seems determined to put concept before character, which is a much bigger problem on television than it is on film.
    • 52 Metascore
    • 50 Mary McNamara
    Aided by Zane and Anthony Head, both of whom are clearly having a great time, the twists may allow viewers to overlook the clunky dialogue and nonsensical plotting. And there’s something admirable about setting such a say-cheese-please murder mystery in the backyard of “Sherlock,” “Luther” and other high-minded British detective shows.
    • 63 Metascore
    • 50 Mary McNamara
    Such a concept seem ripe with delicious possibility. The show, unfortunately, is not. Played out as a cop procedural, it has a predictable narrative structure that at times resembles nothing so much as a prison.
    • 64 Metascore
    • 50 Mary McNamara
    By pilot's end, the tension level is more "Parenthood" than "Homeland."
    • 51 Metascore
    • 50 Mary McNamara
    While there are many reasons to like Taxi Brooklyn, including and especially its two fresh and likable leads, it too often wobbles and stalls, unwilling to commit to one type of storytelling or the other.
    • 51 Metascore
    • 50 Mary McNamara
    Rosemary's Baby is not terrible. Where the original film was shocking, this version, though bloody, is fairly mild.
    • 66 Metascore
    • 50 Mary McNamara
    Fear the Walking Dead takes Los Angeles, and itself, very seriously. So seriously that in the first two episodes it is sometimes difficult not to laugh. At the general cluelessness of the characters, at the intensity of the local "realism," at the heavy-handedness of the Cinematic Symbols of Foreboding (Beware the Bounce House) and the sight of so many fine actors trying to keep their feet in a promising but initially borderline-absurd narrative.
    • 73 Metascore
    • 50 Mary McNamara
    Almost from the get-go there's far more galumphing than trotting going on, and not all of it done by prehistoric feet. Things pick up in the third episode and there are dodos in the fourth, but it's not enough, no, not nearly enough.
    • 62 Metascore
    • 50 Mary McNamara
    It's quite a cast and a good thing too, considering the almost uniformly absurd character types they miraculously manage to animate.
    • 52 Metascore
    • 50 Mary McNamara
    There are legitimately chilling, funny and suspenseful moments in the early episodes of "Happy Town," but the many fine performances are battered to death by a welter of plot twists and cheesy revelations that come speeding out of the sky like those murderous crows in "The Birds."
    • 49 Metascore
    • 50 Mary McNamara
    Swingtown walks a fine line between being a period piece, down to the pudding cups, baseball shirts and snatches of the old "$10,000 Pyramid," and parody.
    • 45 Metascore
    • 50 Mary McNamara
    Each of [supporting characters] will thrive or fall depending on their chemistry with Arquette. And she is, even with the current concerns about cybercrime, the reason to watch the show.
    • 63 Metascore
    • 50 Mary McNamara
    Survivors is torn between the desire to go big--it's the literal end of civilization--and small--how would an ordinary person react to the death of everyone he knows? Regrettably Survivors succeeds at neither, getting stuck instead in a blurry bog of middle ground.
    • 61 Metascore
    • 50 Mary McNamara
    Unfailingly exquisite, Danner gives a performance in the last half-hour that offers a glimpse of what Madoff could have been if the script had been less infatuated with the romance of the con and more interested in its human cost.
    • 48 Metascore
    • 50 Mary McNamara
    Leno's got his desk, he's got his guests and no one expects him to do anything but what he's done for so many years: protect the "Tonight Show" franchise. After all that has happened, that may or may not be enough.
    • 38 Metascore
    • 50 Mary McNamara
    It's not a bad show, it's just a bit too familiar.
    • 60 Metascore
    • 40 Mary McNamara
    The two things Finding Sarah has going for it--Ferguson's undeniable personal appeal and the value of watching a Very British Person attempt to do a Very American Thing--is buried under sanctimony and the absurd vocabulary of self-help.
    • 66 Metascore
    • 40 Mary McNamara
    When the only real tension is one character telling another to hurry and the most emotionally involving scene lasts 30 seconds and involves the cop who may not engage with the principals again all season, it's difficult to remain an interested person.
    • 64 Metascore
    • 40 Mary McNamara
    Too often Life's Too Short feels like two shows stuck together with a bit of chewing gum.
    • 52 Metascore
    • 40 Mary McNamara
    For all that it springs from original material--a coda to the pilot shows some of the actual home movies, which are indeed hilarious--The Goldbergs--is all style and no substance.
    • 54 Metascore
    • 40 Mary McNamara
    Though occasionally funny, Animals is just not nearly as edgy as it thinks it is.
    • 30 Metascore
    • 40 Mary McNamara
    The writing is glib (the term "cat fight" is actually used) and the action relies more on gadgetry than "Mission Impossible." However, the women all look great.
    • 45 Metascore
    • 40 Mary McNamara
    As gratifying as it is to see some of the inner workings of a local phenom, 4th and Forever falls far short of its subject matter, proving once again the limits of reality television.
    • 52 Metascore
    • 40 Mary McNamara
    As is so often the case with "reality television," there's nothing TV producers hate so much as actual reality (bo-ring!), and so everything is tarted up with superfluous soundtracks and staging, with breathless voice-overs, mood lighting and lots of half-baked psychology.
    • 49 Metascore
    • 40 Mary McNamara
    It would have been much more promising if creators David Zabel and Jason Richman had chosen subtlety, which they did not. Instead, we have the disparate and desperate characters that always seem to fuel this sort of show.
    • 53 Metascore
    • 40 Mary McNamara
    Call Girl's greatest flaw is not that it's exploitative but that it's surprisingly dull.
    • 55 Metascore
    • 40 Mary McNamara
    If only it were possible to care, even the least little bit, who did what and why and what will happen next. But as of the end of Episode 2, it just isn't.
    • 58 Metascore
    • 40 Mary McNamara
    Unfortunately, it is difficult to stay interested in what happens to any of these characters because most of them are so absurdly unlikable.
    • 58 Metascore
    • 40 Mary McNamara
    Despite the interesting twist of overt sibling rivalry, Chibnall seems to be making a blood and gore version of "The Princess Diaries."
    • 56 Metascore
    • 40 Mary McNamara
    Murphey and the writers will have to do a lot of heavy lifting for Body of Proof to transcend its immediate predictability. There's only so much Delany can do with a cardboard show.
    • 52 Metascore
    • 40 Mary McNamara
    Though it's nice to see a hospital that is not run by drug addicts or operating way over its abilities, the staff at Chicago Med is maddeningly homogenous in its sincerity and ability.
    • 62 Metascore
    • 40 Mary McNamara
    Gracepoint certainly has higher [ambitions] than many broadcast crime dramas. ... [But Tennant] is nowhere near as good in Gracepoint as he is in Broadchurch. ... [And] the coastal-town milieu of Gracepoint, so vivid in and integral to Broadchurch, seems just as fake as Tennant's accent.
    • 37 Metascore
    • 40 Mary McNamara
    Modern guys may have all manner of hilarious, disturbing and conflicting feelings about their children and the role of caregiver, but none of them make it into the pilot. Only Gary, exhausted and overwhelmed, seems to be experiencing life with an actual child, which is why he gets all the best lines.
    • 51 Metascore
    • 40 Mary McNamara
    There is an abundance, rather over-abundance, of story lines and clichés.
    • 56 Metascore
    • 40 Mary McNamara
    [Jane Lynch is] always worth watching. Even here, sometimes, when her angel, who goes by the name Amy, manages to wrench free from creator Tad Quill's tepid humor and take brief control of the show's narrative indecisiveness.
    • 43 Metascore
    • 40 Mary McNamara
    A frantic, erratic pace that keeps it from really getting anywhere.
    • 49 Metascore
    • 40 Mary McNamara
    The show is very much about Thom and his "struggles," which are far too often presented in a series of high-decibel, gratuitously profane diatribes about the habits of others without benefit of anything remotely resembling personal perspective.
    • 43 Metascore
    • 40 Mary McNamara
    The cast seems no better, or worse, than any reality TV assemblage, but the clues are delivered to the group in such a way that much of the pilot is spent watching them troop, mostly en masse, from one room to the other. It's not terribly exciting.
    • 44 Metascore
    • 40 Mary McNamara
    Amazon is currently in the "spare no expense" stage of original-content production, and it shows everywhere but in the story. Perlman is a strong and deceptively supple performer, but he isn't a miracle worker. Even bad crazy guys need a gleam of humanity, and Pernell has none. Delaney is mostly sidelined, as are Royo and Tal.... Dillahunt's ability to show this, to swing KD from brutal violence to soul-searching, is miraculous. It just isn't enough.
    • 51 Metascore
    • 40 Mary McNamara
    There is really only one reason to watch ABC's Canadian-import place-holder crime drama Motive--Kristin Lehman.
    • 51 Metascore
    • 40 Mary McNamara
    Even if you could forgive its lack of creativity, it's difficult to overlook its absurdly clunky execution. Oh, and the fact that it isn't very funny.
    • 49 Metascore
    • 40 Mary McNamara
    A clunky, clichéd Texas-based crime drama that has the added bonus of being unforgivably sexist, never mind that it was created and produced by women.
    • 42 Metascore
    • 40 Mary McNamara
    Criminal Minds: Suspect Behavior has the same rapid pace of the original, a narrative tool that both amps up the action and keeps the viewer from dwelling too much on the gargantuan leaps of imagination that pass for police work. It also works against the show, preventing it from fully making the insightful points it does have.
    • 78 Metascore
    • 40 Mary McNamara
    Mostly the half-hour segments move in and out of often disjointed moments of Christine's escort-driven life at a pace that seems intentionally, and unforgivably, elliptical.
    • 48 Metascore
    • 40 Mary McNamara
    Dragon lady, cougar and feisty redhead; dutiful son, jealous daughter and henpecked husband are all present and accounted for, with pat and predictable jokes leeching whatever hope might be had from a racially diverse cast and a promising enough setup.
    • 35 Metascore
    • 40 Mary McNamara
    Kath & Kim needs to decide if it wants to satirize American parenting or popular culture. Because if the first two episodes are any indication, it certainly cannot do both.
    • 53 Metascore
    • 40 Mary McNamara
    Overlaid with "Vice"-like shots of panic and bloody aftermath, Code Black wants the soap and sentiment of "Grey's" along with the broken-but-driven main character of "House." Unfortunately, the writing lacks the conviction of either series, and so viewers are left with Harden, dancing just as fast as she can.
    • 48 Metascore
    • 40 Mary McNamara
    Although it is far from the worst King adaptation (would that be "Dreamcatcher"? "Lawnmower Man"?) it feels less like a ghost story than a dashed-together homage to the King oeuvre that's slow where it should be fast and fast where it should be slow.
    • 48 Metascore
    • 40 Mary McNamara
    [This] is why this strange, shallow puddle of comedy is so difficult to accept. With all eyes on Leno, this is the best he, and his writers, and the struggling network could come up with?
    • 49 Metascore
    • 40 Mary McNamara
    Unlike "Awake," however, Saving Hope does not have Jason Isaacs, a nifty crisscrossing police procedural at its heart, or anything interesting to say about the various forms of reality.
    • 47 Metascore
    • 40 Mary McNamara
    If Roadies spent half as much time showing us what roadies actually do as it wastes on framing gazes of tortured longing, it would be a very different, which is to say much better, show. Instead viewers get tossed a few slivers of meat--Phil tearing up whenever he mentions Ronnie Van Zant, Keisha Castle-Hughes’ engineer setting up for the “song of the day”--and a whole lot of corn.
    • 63 Metascore
    • 40 Mary McNamara
    Benched is nowhere near as funny as it thinks it is, mainly because Watkins and Jones seem to believe that the endless humiliations of a thin, attractive, previously well-compensated blond woman are all it takes to make people laugh.
    • tbd Metascore
    • 40 Mary McNamara
    It is difficult to imagine a need for such a thing, what with YouTube and "Tosh.0" on Comedy Central.
    • 57 Metascore
    • 40 Mary McNamara
    Unfortunately, if you name a show Unforgettable you really need to deliver, and the pilot just doesn't.
    • 61 Metascore
    • 40 Mary McNamara
    As a Michael Fox-loving member of the demographic it targeted, I most certainly saw the 1985 film "Teen Wolf," but I don't remember much save it was a comedy and not very good. Teen Wolf, which premieres Sunday night on MTV, is also one of those two things and it is not a comedy.
    • 37 Metascore
    • 40 Mary McNamara
    The cast is solid and more comically effective than the material they are given, but the Russells seem more like what they are--a cast--than what they should be--a family.
    • 45 Metascore
    • 40 Mary McNamara
    McNamara does her best, but Clary has been written as all breeze and no storm, which makes her central relationship with Jace more an algorithm of attractiveness than chemistry. Decter appears far more interested in Revelations than revelation, and in his rush to get to the "good stuff" he has forgotten that this kind of stuff is good only when it takes a while to get there.
    • 57 Metascore
    • 40 Mary McNamara
    The joke is that the teachers of Smoot High have never grown up so they interact with the students as peers. This is supposed to make the endless cycle of scheming and abuse hilarious, but it's far too familiar to be anything but exhausting. And a little bit depressing.
    • 37 Metascore
    • 40 Mary McNamara
    Feldman and her writers are so obsessed with making One Big Happy socially righteous--Lizzy announces her gayness with the frequency of an undercover straight person--that they forgot to give it any heart.
    • 63 Metascore
    • 40 Mary McNamara
    Unfortunately, the show seems to be slightly less than a sum of its parts.
    • 38 Metascore
    • 40 Mary McNamara
    Something got lost between concept and execution, and instead of suspense we get silliness
    • 36 Metascore
    • 40 Mary McNamara
    Having come up with an intriguing premise, co-creators Sherry Bilsing-Graham ("The New Adventures of Old Christine," "Friends") and Ellen Kreamer ("The New Adventures of Old Christine,") are either too timid or too hamstrung by network expectations to execute it.
    • 48 Metascore
    • 40 Mary McNamara
    19 male and female losers of "The Bachelor" and "The Bachelorette" are brought together, "Big Brother" style, to do what they do best: plot and flirt and cry, manufacture drama, do a little armchair psychoanalysis and hook up. In other words, high school without, you know, the learning part.
    • 55 Metascore
    • 40 Mary McNamara
    A potentially funny setup, if the women were not such oddly antiquated sendups.
    • 49 Metascore
    • 40 Mary McNamara
    Alas, it all plays just as sappy as it sounds, even with the gorgeous and ridiculous distractions of make-do medicine.
    • 47 Metascore
    • 40 Mary McNamara
    The town is lovely, the premise solid if overfamiliar, but the script lacks both depth and tension (big problem), and McCurdy is one of the few cast members who can act. All of which makes it difficult to care very much.
    • 45 Metascore
    • 40 Mary McNamara
    Rush hits all its notes with a solidity often known as stomping--Love trumps all pain and Rush must change his ways--and while it does offer another version of USA's other freelance-doc drama "Royal Pains," this concept actually doesn't look better in black.
    • 56 Metascore
    • 40 Mary McNamara
    Killing Lincoln wears its historical accuracy like a ball and chain, clunking where it should inspire, dragging where it should pulse with dread.
    • 56 Metascore
    • 40 Mary McNamara
    That transcendent mixture of confidence and fear, of humility and clear-eyed self-assessment, evident in so much of Sorkin's other work, is what turns a sermon into a work of art. And that is precisely what is missing here.
    • 48 Metascore
    • 40 Mary McNamara
    Running Wilde, is another fractured fairy tale, though without the nuance or humor of its predecessor.
    • 42 Metascore
    • 40 Mary McNamara
    Parrilla is a compelling presence, and it's marvelous to see Northam all modern and un-martyred after his terrific turn as Thomas More in "The Tudors." But there is a strange lack of chemistry among the cast, perhaps because they are continually forced to deliver monologues on how difficult their jobs are and say things such as: "Life, so bloody beautiful."
    • 59 Metascore
    • 40 Mary McNamara
    In a way, "Scream Queens" is a combination of all [Murphy's previous] shows. Just not in a good way.
    • 51 Metascore
    • 40 Mary McNamara
    Swayze, his face worn craggy by age and his battle with pancreatic cancer, remains a noble figure despite the ridiculousness that surrounds him. With the bearing and the mien of a man who is fighting for the survival of his own humanity, he clearly could have done much more with less.
    • 55 Metascore
    • 40 Mary McNamara
    Complications chooses antic over subtlety, banging around from one crazy plot development to another. O'Mara is a very likable actor and Szohr does her very best, but for reasons known only to himself, Nix eschews the black humor that made "Burn Notice" so brilliant, which is too bad.
    • 33 Metascore
    • 40 Mary McNamara
    It is all so dreadfully familiar--the lovely, headstrong and feisty heroine, the nice guy who wants her (in this case, the medical examiner played by Max Brown) and the broken bad boy she loves instead. The only point of light is provided by Catherine's partner, Tess.
    • 51 Metascore
    • 40 Mary McNamara
    This American Gothic remains strictly paint-by-numbers.
    • 62 Metascore
    • 40 Mary McNamara
    The problem is not the supernatural, it's the sanctimony.
    • 70 Metascore
    • 40 Mary McNamara
    For fans of "Silence of the Lambs" there is some pleasure in gathering the canonical Easter eggs planted throughout the series, but for the most part Hannibal suffers from the same fatal flaw as its main character: It takes itself so seriously that it's no fun at all.
    • 53 Metascore
    • 40 Mary McNamara
    Relying over-much on nostalgia for its roots, Heroes Reborn seems astonishingly obtuse about the new world of television.... Ambitious is one thing, a big hot mess is quite another. There are too many characters to keep track of, never mind care about.
    • 36 Metascore
    • 40 Mary McNamara
    From "thinking aloud" scenes in which the team tosses around a Nerf football to a most unfortunate series of conversations between Garza and his law clerk, the only thing that makes Outlaw unique in a swollen genre is its ability to trip over its own feet so early on.
    • 54 Metascore
    • 40 Mary McNamara
    Simmons is great as he always is, but between the divorce, the mid-life crisis, the coming out as blind, the mother-daughter tension and the boy discovering his true self and The Importance of Family, there is simply too much to look at and not enough to see.
    • 67 Metascore
    • 40 Mary McNamara
    This About a Boy is as subtle as a chain saw.
    • 51 Metascore
    • 40 Mary McNamara
    The cast is universally fine, but there's honestly nothing much it can do to avoid being swamped with Fellowes' arrogant attempt to capture the social dimensions of turn-of-the-century Britain, oh, and the sinking of this big boat too.
    • 36 Metascore
    • 40 Mary McNamara
    In the Motherhood worked as a Web series based on real-life stories but not, it would seem, as a television series based on overused stereotypes.
    • 53 Metascore
    • 40 Mary McNamara
    Even the most forgiving fan will find The Killing a shadow of its former self.
    • 38 Metascore
    • 40 Mary McNamara
    Much of the action arises from Reiser's inability to manage his mouth, but where David boldly owns the dark and limitless empire of his self-absorption, Reiser still wants to be the happily married Dad who may say the wrong thing once in a while but whose heart is still in the right place. A guy who's just like you, only much richer with his own show. But you can't have it both ways; just ask Larry David.
    • 59 Metascore
    • 40 Mary McNamara
    In parodying the celebrity life, Bob-Waksberg only occasionally hits the mark.
    • 39 Metascore
    • 40 Mary McNamara
    If only the actual action in The Hasselhoffs weren't so stagy, that tension between delusion and self-awareness might be interesting.
    • 54 Metascore
    • 40 Mary McNamara
    A little whitewashing is forgivable in a biopic, but to make a movie about the most influential figure in fashion history in which she spends more time moping around about her boyfriends than she does designing clothes is infuriating.
    • 48 Metascore
    • 40 Mary McNamara
    ABC's high-aspiring but poorly executed Red Widow.
    • 61 Metascore
    • 40 Mary McNamara
    At the very least the rather admirable cast should be allowed a do-over with a script that doesn't confuse petulance with wit or meanness with misdirection.
    • 43 Metascore
    • 40 Mary McNamara
    These folks are misfit colonists on a planet that, as they keep telling us, they have only begun to understand; surely they have something better to do all day than chat about all the things that have happened, could happen and should happen. I know I do.
    • 43 Metascore
    • 40 Mary McNamara
    There is simply no way you can watch Dina engage in what is the undeniably narcissistic enterprise of having cameras follow her around and not think all sorts of worrisome and occasionally uncharitable things about her rationale.
    • 50 Metascore
    • 40 Mary McNamara
    Unfortunately, Chicago P.D. is just that--a reminder, a breathy echo of other, much better shows. Many of which are available in affordable DVD packages and on various streaming services.
    • 48 Metascore
    • 40 Mary McNamara
    It's all completely ridiculous and derivative, which Schechter is quick to acknowledge. Indeed, the second-best thing about "Stitchers" is its game if not quite successful attempt to straddle sci-fi and sci-fi satire.... The first-best thing about the show is its cast, who all show promise far beyond the limits of their roles here.

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