Melanie McFarland
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For 198 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 11.2 points lower than other critics. (0-100 point scale)

Melanie McFarland's Scores

Average review score: 53
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Moonlight: Season 1
Score distribution:
  1. Positive: 75 out of 198
  2. Negative: 59 out of 198
198 tv reviews
    • 98 Metascore
    • 100 Melanie McFarland
    If there ever was a series that makes HBO a necessity, "The Wire" is it.
    • 85 Metascore
    • 100 Melanie McFarland
    To call "Deadwood" great television doesn't begin to do it justice.
    • 85 Metascore
    • 100 Melanie McFarland
    But don't call it a dramedy. No, the great trick of Rescue Me is that it's the saddest drama on television at which you possibly will laugh at. Some also would call it the best. [13 June 2007, p.C1]
    • Seattle Post-Intelligencer
    • 80 Metascore
    • 100 Melanie McFarland
    Serving up the kind of dialogue that leads to tears and cackles, it may be the most joyfully scathing look at stifled lives network TV has ever seen. [1 Oct 2004]
    • Seattle Post-Intelligencer
    • 75 Metascore
    • 100 Melanie McFarland
    "Masterpiece" isn't too strong a word to describe this series.
    • 96 Metascore
    • 90 Melanie McFarland
    What begins as the usual artistic season premiere shivers and sways with unexpected jolts, one of which irrevocably changes the course and feel of the series. Everything blurs, and nothing, and no one, seems true.
    • 88 Metascore
    • 90 Melanie McFarland
    To see Larry behave so socially recklessly each week is a tremendous treat. [2 Jan 2004]
    • Seattle Post-Intelligencer
    • 89 Metascore
    • 90 Melanie McFarland
    The fans, no doubt, will be content with the conclusion of the brutal street politics--usually the best aspect of each season--as we witness a brilliantly stormy resolution of the unrest between Proposition Joe (Robert F. Chew), Marlo Stanfield (Jamie Hector), who continues to expand his power, and the charismatic, elegant brute Omar Little (Michael K. Williams), a murderous thief worth cherishing.
    • 89 Metascore
    • 90 Melanie McFarland
    Arrested Development has been hyped to the clouds in a number of ads, all piling on critical encomiums from all over the country. This time they're telling the truth. [31 Oct 2003, p.E1]
    • Seattle Post-Intelligencer
    • 72 Metascore
    • 90 Melanie McFarland
    Beneath this skin is one-of-a-kind daring television that explores the complexities of human relationships with an unparalleled intelligence, sensitivity, appropriate level of fun - Joan Rivers dropped by last season, for example - and, when it is warranted, menace. [20 Sept 2005, p.E1]
    • Seattle Post-Intelligencer
    • 79 Metascore
    • 90 Melanie McFarland
    I know it doesn't sound too cool, but really, it's great - not at all obvious like "Touched by an Angel," and far more intelligent... Everyone in this cast is nothing short of brilliant, but Tamblyn's really the one that glows. She's believably snarky in her secret interactions with what may or may not be God; she's well aware she could be crazy. [26 Sept 2003, p.E1]
    • Seattle Post-Intelligencer
    • 94 Metascore
    • 90 Melanie McFarland
    More relevant and biting than it has ever been.
    • 72 Metascore
    • 90 Melanie McFarland
    As hilariously scalding onscreen as it is on the daily comics pages.
    • 87 Metascore
    • 90 Melanie McFarland
    Few stars can write and play a kicked-in-the-mouth underdog as smartly as Gervais does here.
    • 70 Metascore
    • 90 Melanie McFarland
    When "Sunny" works, it makes your rib cage ache. Even when it's not up to its usual standards, it's still better than whatever else is passing for a good time at the moment. [29 Jun 2006]
    • Seattle Post-Intelligencer
    • 88 Metascore
    • 90 Melanie McFarland
    Real and relatable, "Chris" may be the best new comedy of a season filled with sitcoms worth viewing.
    • 78 Metascore
    • 90 Melanie McFarland
    More than simply being outstanding, "Friday Night Lights" is an important series because of the way it takes family-friendly television seriously.
    • 75 Metascore
    • 90 Melanie McFarland
    The agile humor and light, sharp intelligence permeating the script make "Studio 60" far and away one of the season's best new dramas, if not the top entry.
    • 75 Metascore
    • 90 Melanie McFarland
    It demands commitment and a willingness to pay attention to the smallest bits of information, but it's also riveting. Once you decide to go take this case, you won't want to turn back.
    • 81 Metascore
    • 90 Melanie McFarland
    In a fall season full of lofty recommendations and solid, well-made pilots, it's the only series truly worth getting excited about.
    • 81 Metascore
    • 90 Melanie McFarland
    Besides being the funniest pilot, it has the best cast.
    • 70 Metascore
    • 83 Melanie McFarland
    Disturbing and morbid in presentation and humor, Nip/Tuck isn't for the squeamish, and it isn't pretty. But what we saw was alluring and smart enough to, perhaps, pick up the pace on Tuesday nights. [22 July 2003, p.E6]
    • Seattle Post-Intelligencer
    • 86 Metascore
    • 83 Melanie McFarland
    Outstanding. [21 July 2004, p.E6]
    • Seattle Post-Intelligencer
    • 89 Metascore
    • 80 Melanie McFarland
    "24" roars back brilliantly.
    • 79 Metascore
    • 80 Melanie McFarland
    Severe as the new situation may sound, the show initially explores this idea with humor--starting with a studio executive (played by Craig Bierko) coming in for a little touch-up to hide the scars of his, shall we say, therapy delivered by his mistress.
    • 66 Metascore
    • 80 Melanie McFarland
    This often results in some highly entertaining, enlightening footage. Watching Justin Timberlake crumble when he thought his house had been swiped by the government for back taxes - well, that just brought a tear to my eye. [3 Apr 2003, p.E1]
    • Seattle Post-Intelligencer
    • 68 Metascore
    • 80 Melanie McFarland
    Turns like this take the series further into Aaron Spelling territory than it ever was, an idea that may offend those who can't let go of the notion that HBO is supposed to be better than regular TV.
    • 61 Metascore
    • 80 Melanie McFarland
    "CSI: NY" is at least as good as its counterparts, and everything you expect it to be. [22 Sep 2004]
    • Seattle Post-Intelligencer
    • 89 Metascore
    • 80 Melanie McFarland
    Leary has emerged as a creative force to be reckoned with; he writes the show with co-creator Peter Tolan in addition to starring in it. His rapid-fire wit and comedic cadence permeate the wiry, combative dialogue that serves the series so well. [21 June 2005, p.E1]
    • Seattle Post-Intelligencer
    • 90 Metascore
    • 80 Melanie McFarland
    The women aren't as shrill as they've been in the past, and even Sheila (Callie Thorne), the histrionic widow of Tommy's dead cousin has become a decent comedic foil. Better yet, Susan Sarandon steps up to the plate this season as a confident, rich woman - not a girl, a woman, Tommy points out - who wants to seduce Franco (Daniel Sunjata). [30 May 2006, p.D1]
    • Seattle Post-Intelligencer