Melanie McFarland

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For 264 reviews, this critic has graded:
  • 43% higher than the average critic
  • 1% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Melanie McFarland's Scores

Average review score: 58
Highest review score: 100 FEUD: Season 1
Lowest review score: 0 Moonlight: Season 1
Score distribution:
  1. Negative: 61 out of 264
264 tv reviews
    • 99 Metascore
    • 100 Melanie McFarland
    No other series so poignantly probes the human condition and our concept of reality, identity, what we know and what is true with such alluring complexity. In a just world, more people would watch Rectify. That it existed at all, and leaves four tremendous seasons to savor and contemplate, is its own lovely blessing.
    • 98 Metascore
    • 100 Melanie McFarland
    All the hype leading up to the final approach of The Leftovers has merit. The seven episodes HBO provided are consistently brilliant, sure and mindful about tying up loose ends.
    • 98 Metascore
    • 100 Melanie McFarland
    If there ever was a series that makes HBO a necessity, "The Wire" is it.
    • 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.
    • 94 Metascore
    • 90 Melanie McFarland
    More relevant and biting than it has ever been.
    • 92 Metascore
    • 90 Melanie McFarland
    Through careful direction and precise writing shaped by showrunner Bruce Miller, this is a drama that is remarkable in its ability to horrify while maintaining a delicate air. As threatening and oppressive as the world of Gilead is, the series has an energetic stamina about it that prevents the story from sinking under the weight of despondency.
    • 90 Metascore
    • 80 Melanie McFarland
    Transparent has expanded from its first season’s examination of gender identity, and with that enlarged view come some growing pains. ... But the newest episodes of Transparent also display the perils of a producer reveling a tad too much in a show’s baroque period, particularly in the self-referential first episode, “Elizah.”
    • 90 Metascore
    • 90 Melanie McFarland
    The deliberate pacing and dreamy, surreal tone of Atlanta may prove too off-putting for viewers searching for easy entertainment. But those thirsting for a fearless, fresh perspective in comedy will find much to appreciate here.
    • 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
    • 85 Metascore
    • 100 Melanie McFarland
    To call "Deadwood" great television doesn't begin to do it justice.
    • 90 Metascore
    • 90 Melanie McFarland
    Outstanding on all fronts--acting, cinematography and script are all top-notch--but it happens to be unrelentingly depressing as well.
    • 89 Metascore
    • 70 Melanie McFarland
    Once we’re aware that’s coming, we can’t help but to expect it to happen. That puts the onus on Hawley and his writers to cook up an act so unexpected that it jolts us nevertheless. Whether initial crime of Season 3 fulfills that promise is debatable. The auxiliary circumstances and characters surrounding it, however, don’t initially hold enough tension to makes us salivate with anxiety for where this story will go next.
    • 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
    • 89 Metascore
    • 80 Melanie McFarland
    "24" roars back brilliantly.
    • 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
    • 54 Metascore
    • 60 Melanie McFarland
    No series following an easy delight like "Grey's Anatomy" should be this much of a downer.
    • 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.
    • 79 Metascore
    • 80 Melanie McFarland
    Plain wonderful.
    • 88 Metascore
    • 90 Melanie McFarland
    Real and relatable, "Chris" may be the best new comedy of a season filled with sitcoms worth viewing.
    • 88 Metascore
    • 80 Melanie McFarland
    Getting to know these characters can be incredibly entertaining but, like the pets each keeps at arm’s length in their respective shows, they’re best experienced in limited doses.
    • 88 Metascore
    • 90 Melanie McFarland
    To see Larry behave so socially recklessly each week is a tremendous treat. [2 Jan 2004]
    • Seattle Post-Intelligencer
    • 88 Metascore
    • 90 Melanie McFarland
    Few stars can write and play a kicked-in-the-mouth underdog as smartly as Gervais does here.
    • 88 Metascore
    • 100 Melanie McFarland
    In showing us the sum of Forrest’s travails, Review has given birth to something extraordinary: a bleak, serialized tragedy that inspires spasms of unrestrained laughter.
    • 87 Metascore
    • 90 Melanie McFarland
    Regardless of where we are in this strange voyage, it’s obvious that Gilligan and Gould are accelerating Jimmy toward his grimmer future. The third season opens with a heavier atmosphere leaning more into the drama of the tale, so much that one may forget that it was originally conceived as a half-hour sitcom.
    • 40 Metascore
    • 10 Melanie McFarland
    [A] laugh-free comedy.
    • 40 Metascore
    • 20 Melanie McFarland
    I'm not sure which is worse, that tired back story or Martin Landau besmirching his career by appearing in this as a wizened forensics guy.
    • 86 Metascore
    • 80 Melanie McFarland
    All the praise heaped on Pushing Daisies, and every declaration about the dramedy's originality, is merited.
    • 86 Metascore
    • 80 Melanie McFarland
    The oaken friendship in Hap and Leonard allows the plotline’s racial context to feel more affecting and salient than other higher-profile series addressing similar themes. Williams and Purefoy are an incredible comedy team, perking up the bleakest situations with their back-and-forth bickering. Those moments earn the viewer’s investment in the toughest parts of the story and never allow the energy in Hap and Leonard to deflate.
    • 86 Metascore
    • 80 Melanie McFarland
    Outlandish creativity is the central feature here, a switch that inspires viewers to discuss each competition in the same way you'd evaluate a work of art as opposed to hooting at the foulest examples of human behavior. [6 Dec 2005]
    • Seattle Post-Intelligencer
    • 86 Metascore
    • 83 Melanie McFarland
    Outstanding. [21 July 2004, p.E6]
    • Seattle Post-Intelligencer

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