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 2.9 points lower than other critics. (0-100 point scale)

Mary McNamara's Scores

Average review score: 61
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 Cavemen: Season 1
Score distribution:
  1. Negative: 52 out of 441
441 tv reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Mary McNamara
    It is something less than magical, but it's pleasant and pretty and easy to watch.
    • 64 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.
    • 52 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 64 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.
    • 69 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.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Mary McNamara
    American Horror Story is a big ol' brooding, baffling, ridiculous and occasionally compelling mess of a show.
    • 58 Metascore
    • 60 Mary McNamara
    A cleverly conceived, at times visually lovely, but criminally long imagining of how Peter became Pan.
    • 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.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 60 Mary McNamara
    Created by Dan Fogelman it is enjoyable if not impressive--not bad, and almost good.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.