Mary McNamara
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For 441 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 3 points lower than other critics. (0-100 point scale)

Mary McNamara's Scores

Average review score: 61
Highest review score: 100 Behind the Candelabra: Season 1
Lowest review score: 0 Anchorwoman: Season 1
Score distribution:
  1. Negative: 52 out of 441
441 tv reviews
    • 59 Metascore
    • 60 Mary McNamara
    When it's not being completely ridiculous, Chasing Life is very good.
    • 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.
    • 49 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.
    • 65 Metascore
    • 50 Mary McNamara
    Where once Nip/Tuck crackled, it now whines and sighs; where once it shocked, it now plays nice.
    • 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.
    • 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.
    • 64 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
    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.
    • 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.
    • 53 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.
    • 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.
    • 61 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.
    • 62 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.
    • 57 Metascore
    • 50 Mary McNamara
    The Cleveland Show is neither sweet nor particularly funny, neither a family comedy nor a true satire.
    • 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.
    • 53 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."
    • 62 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.
    • 66 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.
    • 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.
    • 66 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Mary McNamara
    In attempting to be both sprawling and intimate, The Kennedys winds up in a narrative no-man's land.
    • 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.
    • 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.
    • 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."
    • 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.
    • 58 Metascore
    • 50 Mary McNamara
    Despite the strength of its parts, the whole feels very nascent and shaky.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Mary McNamara
    It's not a bad show, it's just a bit too familiar.
    • 59 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.
    • 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
    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.
    • 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.
    • 61 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.
    • 38 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."
    • 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
    An ambitious character-driven drama over-enamored from the get-go with its tricky structure and coy premise.
    • 66 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.
    • 63 Metascore
    • 50 Mary McNamara
    By pilot's end, the tension level is more "Parenthood" than "Homeland."
    • 57 Metascore
    • 50 Mary McNamara
    Equal parts stupid and sweet, The Goodwin Games does not appear to be built for the long haul.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Mary McNamara
    It's "House of Cards," with a werewolf/vampire hybrid instead of a charming but ruthless Southern senator.
    • 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.
    • 64 Metascore
    • 50 Mary McNamara
    It is, by turns, hilarious and histrionic, illuminating and infuriating.
    • 62 Metascore
    • 50 Mary McNamara
    Almost Human isn't terrible, it's just not terribly interesting, at least in the first hour.
    • 62 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Mary McNamara
    Rosemary's Baby is not terrible. Where the original film was shocking, this version, though bloody, is fairly mild.
    • 61 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.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Mary McNamara
    Something got lost between concept and execution, and instead of suspense we get silliness
    • 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.
    • 38 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
    Call Girl's greatest flaw is not that it's exploitative but that it's surprisingly dull.
    • 36 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.
    • 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.
    • 52 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.
    • 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.
    • 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.
    • 53 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.
    • 41 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."
    • 57 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.
    • 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?
    • 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.
    • 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.
    • 48 Metascore
    • 40 Mary McNamara
    Running Wilde, is another fractured fairy tale, though without the nuance or humor of its predecessor.
    • 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.
    • 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.
    • 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.
    • 42 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Mary McNamara
    The problem is not the supernatural, it's the sanctimony.
    • 65 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.
    • 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.
    • 57 Metascore
    • 40 Mary McNamara
    Unfortunately, if you name a show Unforgettable you really need to deliver, and the pilot just doesn't.
    • 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.
    • 63 Metascore
    • 40 Mary McNamara
    Too often Life's Too Short feels like two shows stuck together with a bit of chewing gum.
    • 47 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.
    • 55 Metascore
    • 40 Mary McNamara
    A potentially funny setup, if the women were not such oddly antiquated sendups.
    • 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.
    • 42 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.
    • 57 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.
    • 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.
    • 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.
    • 47 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.
    • 34 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.
    • 38 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.
    • 48 Metascore
    • 40 Mary McNamara
    ABC's high-aspiring but poorly executed Red Widow.
    • 50 Metascore
    • 40 Mary McNamara
    There is really only one reason to watch ABC's Canadian-import place-holder crime drama Motive--Kristin Lehman.
    • 57 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.
    • 69 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.
    • 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.
    • 43 Metascore
    • 40 Mary McNamara
    A frantic, erratic pace that keeps it from really getting anywhere.
    • 50 Metascore
    • 40 Mary McNamara
    There is an abundance, rather over-abundance, of story lines and clichés.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 40 Mary McNamara
    This About a Boy is as subtle as a chain saw.
    • 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.
    • 44 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.
    • 53 Metascore
    • 40 Mary McNamara
    Even the most forgiving fan will find The Killing a shadow of its former self.
    • 58 Metascore
    • 40 Mary McNamara
    In parodying the celebrity life, Bob-Waksberg only occasionally hits the mark.
    • 40 Metascore
    • 30 Mary McNamara
    Lipstick Jungle wrongheadedly wants to have it both ways--to celebrate and explore the lives and loves of women at the top through protagonists who don't have the drive or the depth to make it there.
    • 37 Metascore
    • 30 Mary McNamara
    It just isn't funny.
    • 29 Metascore
    • 30 Mary McNamara
    All evidence to the contrary, the show has the potential of being very funny, but only if the writers can choose subtlety over shtick even a quarter of the time.
    • 49 Metascore
    • 30 Mary McNamara
    Lost in all the plot and character contrivance is any sense of the city--a few gumbo and bourbon references are most certainly not enough.
    • 67 Metascore
    • 30 Mary McNamara
    Canterbury's Law is a Frankenstein's monster of a dozen cop/law shows, a pale, lurching version of the flawed and fascinating women who are taking back television like so many modern Cagneys and Laceys.
    • 70 Metascore
    • 30 Mary McNamara
    We don't feel anything because nothing is revealed about Moody except that he is depressed, profane and a writer. (We don't even know whether he is a good writer--all sorts of bad writers get upset about how their movies are made too.) And that, I'm afraid, is not enough.
    • 42 Metascore
    • 30 Mary McNamara
    Fox should send TNT the super fancy bouquet because, once again, "House" never looked so good.
    • 50 Metascore
    • 30 Mary McNamara
    Watching "Tabatha's Salon Takeover," which is unrated, you can't help but wonder if there shouldn't be a "whip it" show for "whip it" shows--in which an expert would review the tapes and offer advice on how to turn a bad situation around. They could start with this one.
    • 29 Metascore
    • 30 Mary McNamara
    What begins as a more than slightly fantastic revision of the Templar legend takes an ill-advised turn toward theological theorizing and New Agey spiritual advice.
    • 40 Metascore
    • 30 Mary McNamara
    If Mental sounds a lot like "House" or "The Mentalist" or whatever other foreign-born-actor-playing-a-haunted-man drama you can think of, well, it is. Only nowhere near as good.
    • 33 Metascore
    • 30 Mary McNamara
    The Storm is almost but not quite bad enough to be fun. Although Treat Williams is clearly having a great time, those of us in the audience are left feeling damp and more than a bit moldy.
    • 40 Metascore
    • 30 Mary McNamara
    Poorly conceived, badly written and indifferently acted, The Deep End is a jumble of terrible ideas from start to finish.
    • 42 Metascore
    • 30 Mary McNamara
    Past Life is created by David Hudgins ("Friday Night Lights"), who certainly knows his way around a script, so it is literally shocking how bad the writing is, with Whately grinding out such illuminations as "You can't get DNA from a memory" or "It's like all your life you've been playing this game and then someone changes the rules" until you want to scream.
    • 32 Metascore
    • 30 Mary McNamara
    It is such an utterly cynical experiment, troublesome on so many levels (there are children involved, watching adults cry because their friends have "banished" them) and no matter how often people say "it's just a game," even without a big chunk of change on the line, family competitions are rarely bloodless.
    • 50 Metascore
    • 30 Mary McNamara
    Take "Lost," mash it up with "The Prisoner," throw in a little "Saw," over-season with badly written and poorly delivered dialogue, glaze with horror-film lighting, dream-scene camerawork and elevators like you haven't seen since "The Shining," and you've got "Persons Unknown."
    • 56 Metascore
    • 30 Mary McNamara
    I'm sure the writers have big plans to examine the hilarious pitfalls everyone encounters after Wolf goes to jail and Cheryl institutes a new "no crime" rule but it's not just difficult to care about what happens next, it's difficult to imagine caring.
    • 54 Metascore
    • 30 Mary McNamara
    There's nothing wrong with a show about lovable losers, but they have to be, you know, lovable. Here, the men seem to be products of their writers' contempt; they're such babies that even their profanity doesn't rise from the potty.
    • 38 Metascore
    • 30 Mary McNamara
    The show is neither funny nor illuminating. Indeed, if you aren't a bordering-on-psychotically-obsessive Saget fan, there's not much to see except some very nice scenery.
    • 45 Metascore
    • 30 Mary McNamara
    The Playboy Club is nothing but a tarted-up mob drama; the bunnies may be used as the marketing and milieu but the main narrative is about the men, and no one seems aware of the irony.
    • 36 Metascore
    • 30 Mary McNamara
    It's just the sheer bone-idle laziness of the writing, which is a dumbed-way-down "Modern Family" crossed with watered-way-down "Two and a Half Men."
    • 52 Metascore
    • 30 Mary McNamara
    Like so many reboots, The Firm is a waste of precious resources, especially its cast.
    • 35 Metascore
    • 30 Mary McNamara
    He gets off a few good lines, but even the fan-based studio audience wasn't much impressed, providing an ocean of silence where the laughter should be, which made the television viewing experience actually uncomfortable at times.
    • 48 Metascore
    • 30 Mary McNamara
    The show is pretty darn terrible, derivative and tired, co-starring a monkey (never, ever a good sign) and chockablock with characters we have seen too many times before.
    • 42 Metascore
    • 30 Mary McNamara
    If Couric was the best and brightest candidate to replace Oprah, things are not looking good, America.
    • 38 Metascore
    • 30 Mary McNamara
    Zero Hour, while initially tantalizing (priests, Nazis, Anthony Edwards, an unholy birth, a secret map--I'm in! I'm in!), is more than a little disappointing (flat-footed dialogue, absurd plot machinations, cardboard main characters, ludicrous historical leaps--I'm out! I'm out!).
    • 63 Metascore
    • 30 Mary McNamara
    It would be great to report here that Devious Maids is not that bad, except that it is, despite a lot of real talent on-screen.
    • 50 Metascore
    • 30 Mary McNamara
    Beau Bridges and Margo Martindale are the ones yelling and making sex jokes while Will Arnett looks on in (justified) horror, which may move The Millers out of "unfortunate" into "unforgivable."
    • 33 Metascore
    • 30 Mary McNamara
    [A] show [that] is far better cast than it is conceived.
    • 41 Metascore
    • 30 Mary McNamara
    The plot of Mistresses is so absurd and at times offensive that by the end of the first episode it's difficult not to hope for an early demise so these four women can be released to find better shows.
    • 53 Metascore
    • 30 Mary McNamara
    With an attitude far more 16th century than anything in the actual show, the CW assumes its (mostly female) viewers are either too stupid or too narcissistic to appreciate the actual drama of a young queen in a foreign court. So instead Reign offers yet another sexed-up version of high school.
    • 48 Metascore
    • 30 Mary McNamara
    Kirstie goes for the worst of both worlds, arraying itself in the worn-thin comfort of predictable humor and sloppy sentiment in the vain hope that it comes off as retro, or quaint or something.
    • 55 Metascore
    • 30 Mary McNamara
    Both actors [Gregg Henry and Billy Campbell] do their level best, as does Clea DuVall as Lizzie's dubious but loyal sister Emma. But they all seem to be participating in a very different movie from Ricci, who flounces, flops and smiles knowingly but offers no insight against the pounding backbeat, like a CW heroine slumming it on Lifetime.
    • 45 Metascore
    • 30 Mary McNamara
    A show so deeply flawed and absurdly derivative you will wonder if you, like the main character, are experiencing a manic episode.
    • 48 Metascore
    • 30 Mary McNamara
    It's a lot of exposition to get through, and that's just what writer Vaun Wilmott and director Scott Stewart, the latter of whom also worked on "Legion," do--they get through it, with way too much talking and not nearly enough bodies exploding into acid.
    • 54 Metascore
    • 30 Mary McNamara
    In attempting to mix West with Middle East, the show too often seems content with stereotyping both.
    • 50 Metascore
    • 30 Mary McNamara
    We have a hollow, laugh-enhanced comedy in which the biggest draw is Tori Spelling proving she will do anything to remain on television.
    • 48 Metascore
    • 30 Mary McNamara
    Watching the cast rather heroically work their way through a series of jokes and "developments" as nondescript and rickety as the storefront law office they come to occupy, it was difficult not to despair: NBC took "Harry's Law" off the air, then gave us this?
    • 65 Metascore
    • 30 Mary McNamara
    Cash and Geere are two talented performers selling this mess as best they can, but mostly the show suffocates under its own feeling of brashness.
    • 47 Metascore
    • 20 Mary McNamara
    To say Valentine, which premieres at 8 p.m. Sunday, is terrible does not do justice to either the show or the word "terrible."
    • 35 Metascore
    • 20 Mary McNamara
    Though it is mildly interesting to watch the reality monster consume its own tail for a few minutes, I'd frankly rather spend an hour blotting my lip gloss.
    • 32 Metascore
    • 20 Mary McNamara
    Sandra Brown's Ricochet, is just awful, despite its fine literary pedigree and a cast that includes John Corbett, Gary Cole and Julie Benz.
    • 26 Metascore
    • 20 Mary McNamara
    A wildly graceless biopic that careens through the decades-long relationship between Elizabeth Taylor and Richard Burton with more petulance than passion, knocking down gin bottles and rumpling silk sheets for no better reason than that's what it says to do in the script.
    • 44 Metascore
    • 20 Mary McNamara
    As a for-profit visual arts experience, Hemlock Grove is terrible in ways that mock the meaning of the word "terrible," with clunky acting, tra-la-la transitions and at least one monster that walks like a bad Frankenstein and appears to be wearing the very same wig/hat we used.
    • 47 Metascore
    • 20 Mary McNamara
    Rogue is pretty terrible, a moody, broody jumble of clichéd characters, pregnant pauses and sex scenes that border on the pornographic.
    • 38 Metascore
    • 20 Mary McNamara
    Bad things happen, as bad things will, and soon all their lives will intersect in the courtroom as well as the bedroom. If only we cared. Even a little.
    • 49 Metascore
    • 20 Mary McNamara
    The problem is not that it's just terrible, but that it's also no fun. At all.
    • 50 Metascore
    • 20 Mary McNamara
    This show's got nothing but laugh track.
    • 33 Metascore
    • 10 Mary McNamara
    Feldman has created a quartet of rich guys so insufferable, self-centered and whiny that they make the men of feminist masterwork "The Golden Notebook," or even "The Nanny Diaries," look positively heroic.
    • 40 Metascore
    • 10 Mary McNamara
    So here it is, a two-part A&E miniseries that manages, despite a cast culled from some of the best shows on TV, to be both overwrought and dull, a veritable Frankenfilm of sci-fi thrillers, built of debris from sources including "Outbreak," "Sphere," "The Omega Man," "The Birds," "The China Syndrome" and, oh, yes, "The Andromeda Strain."
    • 28 Metascore
    • 10 Mary McNamara
    Work It managed to claim Worst Comedy of the Year, but surely CBS' Rob comes in a close second.
    • 19 Metascore
    • 0 Mary McNamara
    A show that is no longer offensively not funny, just pointless and not funny.
    • 31 Metascore
    • 0 Mary McNamara
    I just wanted everyone, including Jones, to rise up as one and throw the cameras and the whole Anchorwoman concept out of the newsroom and back to whatever airport strip bar provided its genesis.