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

Melanie McFarland's Scores

Average review score: 53
Highest review score: 100 Brotherhood: Season 1
Lowest review score: 0 The War at Home: Season 1
Score distribution:
  1. Positive: 75 out of 198
  2. Negative: 59 out of 198
198 tv reviews
    • 60 Metascore
    • 60 Melanie McFarland
    "Day Break" is an intricate, imaginative series designed to make you ask questions at every turn, but the killer will be, "What else is on?"
    • 57 Metascore
    • 60 Melanie McFarland
    This is a comedy that does what it's supposed to do, which is to make you smile and giggle at the appropriate points. Be that as it may, the pilot never ascends beyond the level of being cute and nice.
    • 60 Metascore
    • 60 Melanie McFarland
    If you don't like Woods' frantic, frequent speeches, and you can't get out of the "Without a Trace" Thursday habit, best to steer clear.
    • 68 Metascore
    • 60 Melanie McFarland
    "Kidnapped," which gives us a frequently riveting story populated by intriguing, complex characters, is regular-grade TV trying too hard to be gourmet.
    • 67 Metascore
    • 60 Melanie McFarland
    The jokes that hit their target almost make up for the wide misses.
    • 37 Metascore
    • 60 Melanie McFarland
    You won't be quoting lines from it over Friday morning coffee, but it is, if not good, then good enough.
    • 53 Metascore
    • 60 Melanie McFarland
    "Runaway" is decent, the kind of show some might acknowledge as pretty good while saying, in the next breath, that it probably wouldn't make it.
    • 62 Metascore
    • 60 Melanie McFarland
    It's all very quirky. Too quirky, maybe, for an audience that is used to spaceships, robots and explosions.
    • 54 Metascore
    • 60 Melanie McFarland
    No series following an easy delight like "Grey's Anatomy" should be this much of a downer.
    • 64 Metascore
    • 60 Melanie McFarland
    "Knights" is without question the funniest comedy ABC has on its roster. But look at the network's other options, and you'll understand that's not what you'd call a hard-won honor.
    • 58 Metascore
    • 60 Melanie McFarland
    The tale's beyond complicated, to be sure. But it also may be the most watchable six hours of strangeness you'll see this season.
    • 67 Metascore
    • 60 Melanie McFarland
    "Top Design"... comes closer to capturing "Runway's" singular appeal than "Top Chef" ever did... Yet with each scan of the "Project Runway" blueprint, a little more of the original's crispness and clarity gets lost.
    • 64 Metascore
    • 60 Melanie McFarland
    In the way of so many television series inspired by comedians, "The Sarah Silverman Program" fails to directly translate the insanity of Silverman's stand-up.
    • 69 Metascore
    • 60 Melanie McFarland
    [It] vacillates between riveting and middling.
    • 74 Metascore
    • 60 Melanie McFarland
    Chuck is, at its best, cute--and that's not enough to keep up with the big dogs.
    • 64 Metascore
    • 60 Melanie McFarland
    While one can never count out a decent cop show, Life's main character is so weird he either fascinates you immediately or turns you off.
    • 58 Metascore
    • 60 Melanie McFarland
    Absolutely nothing about it is original or seeks to transform the half-hour genre. Still, the fact that it is executed by sure-footed comedy veterans more than makes up for the sin of familiarity.
    • 53 Metascore
    • 60 Melanie McFarland
    The miniseries' trite finish falls short of capturing the amazement we felt the first time we saw Judy Garland bring Dorothy to life.
    • 73 Metascore
    • 60 Melanie McFarland
    Breaking Bad is a show constructed around a self-conscious edginess. You have to push past this edge and be willing to step inside before discovering any depth.
    • 74 Metascore
    • 60 Melanie McFarland
    When it works, the series effectively portrays the sorrowful human toll the underground trade takes on men and women, parents and children caught up in the struggle either by choice or unseen forces. ... But the weaknesses of this Traffic mirror Soderbergh's stumbles, which is its tendency to brain viewers with the same clumsy force as a Partnership for a Drug-Free America commercial. [24 Jan 2004]
    • Seattle Post-Intelligencer
    • 80 Metascore
    • 50 Melanie McFarland
    But these components don't detract from Deadwood as much as the series' inability to get the story rolling, although it shows potential for growing more interesting two or three episodes from now. Look at the introduction as an overly long handshake with a huge cast of characters, then take notice of how tedious such an elaborate setup can be, even one punctuated by thundercracks of violence. [19 Mar 2004, p.D1]
    • Seattle Post-Intelligencer
    • 74 Metascore
    • 50 Melanie McFarland
    Nip/Tuck is aiming for profundity again, as far as that goes. At one point the series catch phrase said something about being more than skin deep, but I'm not sure the scalpel even scratches the fatty layer anymore. Understand that Nip/Tuck was never about adventurous quality or exploring new frontiers in emotional depth. It's just the handsomest, indecently pleasurable soap opera television can crank out, and a reliable supplier of muscular butt shots. [5 Sept 2006, p.E1]
    • Seattle Post-Intelligencer
    • 71 Metascore
    • 50 Melanie McFarland
    Its hipster appeal feels a bit too calculated for my tastes, even though the cast, headed be Robert Vaughn, is undeniably appealing.
    • 62 Metascore
    • 50 Melanie McFarland
    Just when you think The Office is working, it starts to crumble. You reach a point of giving up on it, and then suddenly it pulls you back. The thing defies concrete evaluation because it could go either way. [24 Mar 2005, p.D1]
    • Seattle Post-Intelligencer
    • 72 Metascore
    • 50 Melanie McFarland
    Its impressive cast can't beef up the show's predictable conflicts and pedestrian secrets.
    • 65 Metascore
    • 50 Melanie McFarland
    Fehr's performance is worth noting, if only because his cool demeanor is frighteningly at odds with the insane rhetoric pouring out of his mouth. His portrayal may be the show's greatest point of interest -- that is, if you aren't annoyed by Shields, or hypnotized into a slumber by Ealy's never-ending "haunted past" routine.
    • 48 Metascore
    • 50 Melanie McFarland
    Rote as this seems, it's difficult to judge the series too harshly. It has the barest basics in its favor -- the cast works and the writing is acceptable.
    • 53 Metascore
    • 50 Melanie McFarland
    It isn't as funny as it should be.
    • 44 Metascore
    • 50 Melanie McFarland
    "Crumbs" is hideously overscored.... That's unfortunate, because the sappy swells detract from the series' wicked dialogue, and scenes oozing with the brand of dark, twisted humor only family can inflict upon one another.
    • 64 Metascore
    • 50 Melanie McFarland
    It isn't a laugh-a-minute free-for-all.

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