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
    • 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
    • 79 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.
    • 88 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
    • 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
    • 78 Metascore
    • 80 Melanie McFarland
    The premiere showed a few early signs of greatness from a handful of the designers; you'll have to watch to find out to whom I'm referring.
    • 71 Metascore
    • 80 Melanie McFarland
    The storytelling and performances are peerless in their intensity.... At the same time, there may be too much going on here for six episodes to do this show justice.
    • 75 Metascore
    • 80 Melanie McFarland
    What it does is invite you to enjoy the dysfunction, maybe relate a little. Worthy punctuation for the end of Sunday evening. [5 Nov 2004, p.C1]
    • Seattle Post-Intelligencer
    • 77 Metascore
    • 80 Melanie McFarland
    Cute and smart, "Earl's" pilot pulled a coup unheard of in recent network comedy memory, juggling un-P.C. humor with a winning sweetness.
    • 64 Metascore
    • 80 Melanie McFarland
    Considering all that it has going for it, "Threshold" has a more formidable foe in Friday night apathy. Out of all the shows that could possibly conquer that, though, you couldn't place your faith in a better choice than this excellent proof of intelligent TV life.
    • 81 Metascore
    • 80 Melanie McFarland
    Very British, coasting on quiet pauses, subtle digs and ironic discomfort -- a bonus for some, a strong negative for many.
    • 73 Metascore
    • 80 Melanie McFarland
    There's a lot to love about Torchwood, especially for fans of the early days of "The X-Files," when it was more of a clever horror anthology series and the alien conspiracy had yet to take over the plot.
    • 79 Metascore
    • 80 Melanie McFarland
    Plain wonderful.
    • 73 Metascore
    • 80 Melanie McFarland
    The show could be almost too funny to be appreciated on normal television, in the same way "Arrested [Development]" was.
    • 75 Metascore
    • 80 Melanie McFarland
    "Ugly Betty" may be the fall's best new series.
    • 59 Metascore
    • 80 Melanie McFarland
    "Psych" is one of those happy collisions of an intelligent script and an appealing cast.
    • 77 Metascore
    • 80 Melanie McFarland
    The series quickly establishes itself as an elegant study in horror.
    • 85 Metascore
    • 80 Melanie McFarland
    One magnificently chilling shot near the end of the season two's first episode shows us just how busy Dexter's been all these years. Rarely has an image of evil looked so delectably good.
    • 48 Metascore
    • 80 Melanie McFarland
    It seems Darren Star has moved away from the fantasy of the upwardly mobile professional woman who seizes life's pleasures for everything they're worth; his ABC dramedy proves, time and again, that every treasure we hunt for comes with a higher price not listed on any receipt.
    • 66 Metascore
    • 80 Melanie McFarland
    You don't usually encounter the words "smart" and "soap" in close proximity, but this is one of those exceptions.
    • 86 Metascore
    • 80 Melanie McFarland
    All the praise heaped on Pushing Daisies, and every declaration about the dramedy's originality, is merited.
    • 63 Metascore
    • 80 Melanie McFarland
    Guide to Style is smart, fun and instructive, emphasizing enlightenment over shame and choice over following orders.
    • 79 Metascore
    • 80 Melanie McFarland
    "This American Life" lost none of its authenticity in transition from radio to Showtime.
    • 77 Metascore
    • 80 Melanie McFarland
    It is something rare and wonderful, a remarkable, original vision.
    • 79 Metascore
    • 70 Melanie McFarland
    So just put your intelligence on hold for an hour or four, and you'll be ecstatic at Day 6's beginning.
    • 57 Metascore
    • 70 Melanie McFarland
    Whatever problems you may have had with "Carnivale" last season, give it a pass for, let's say, five episodes. That's more than enough time to figure out if the magic has returned. [7 Jan 2005]
    • Seattle Post-Intelligencer
    • 73 Metascore
    • 70 Melanie McFarland
    A significant improvement in the sequel is its keener sense of urgency and alarm, achieved by down-scaling the exposition and character development that bogged down the first hours of the original.
    • 70 Metascore
    • 70 Melanie McFarland
    It's a good show waiting to happen, television cliches and all. [5 Aug 2005]
    • Seattle Post-Intelligencer
    • 78 Metascore
    • 70 Melanie McFarland
    "Weeds' " executive producers, headed by creator Jenji Kohan, get kudos for keeping the show's balance of heartfelt drama and screwy comedy intact.
    • 59 Metascore
    • 70 Melanie McFarland
    "Supernatural" plays like a high-octane B-flick. You could be mildly ashamed at how much you like it.
    • 56 Metascore
    • 70 Melanie McFarland
    Davis fills the "leader of the free world" shoes admirably, quickly demonstrating herself to be a formidable presence when she tangles with Sutherland.
    • 61 Metascore
    • 70 Melanie McFarland
    Borders on terrific at times and falters in others.
    • 64 Metascore
    • 70 Melanie McFarland
    Unless you're a cold, cynical, seen-it-all kind of guy (or chick), odds are you'll find a lot to like about the first episode.
    • 61 Metascore
    • 70 Melanie McFarland
    A promising cast and respected executive producers conspire to give "The Unit" a shot at being this spring's breakout hit. But the real proof's in the pilot, a thrilling balance between the action of this sharpshooting brotherhood and the schemes of their secretive, slightly overbearing wives.
    • 69 Metascore
    • 70 Melanie McFarland
    "How I Met Your Mother" may not break any comedic ground, but it's the sort of comfortable, reliable hitter CBS needs on Monday nights.
    • 68 Metascore
    • 70 Melanie McFarland
    "Sons & Daughters" is supposed to feel like a heightened version of your own family, and in many ways it succeeds.
    • 73 Metascore
    • 70 Melanie McFarland
    True, it's not quite "Tales From the Crypt" but is better than "Tales From the Darkside."
    • 59 Metascore
    • 70 Melanie McFarland
    The premiere breathe[s] like a moody, dark theatrical release -- one that tastes like Quentin Tarantino muddled with Michael Mann -- as opposed to a pilot from executive producer John Wells.
    • 57 Metascore
    • 70 Melanie McFarland
    An immensely enjoyable premiere.
    • 52 Metascore
    • 70 Melanie McFarland
    This is TV sugar with an IQ and a pulse -- clever, revved-up, often funny, sometimes devastating.
    • 63 Metascore
    • 70 Melanie McFarland
    A classy, stimulating look at six true mavericks through the eyes of six people in various stages of iconoclastic development.
    • 65 Metascore
    • 70 Melanie McFarland
    "Army Wives" is a series that sucks you in on the strength of its characters.
    • 68 Metascore
    • 70 Melanie McFarland
    "The State Within" is what we'd get if the producers of "24" wanted to make us think instead of accept ever-widening leaps of logic.
    • 74 Metascore
    • 70 Melanie McFarland
    While it's hard to predict how this new chapter will play among deeper fans of the "Terminator" mythology, the rest of us have to ask ourselves if watching reboots of robot battles once a week is worth our time.
    • 58 Metascore
    • 70 Melanie McFarland
    In essence, you're watching the parts of life we're never supposed to see play out before our eyes, and the effect can be either uncomfortable but fascinating or whiny and dull.
    • Seattle Post-Intelligencer
    • 69 Metascore
    • 70 Melanie McFarland
    This show has no illusions of being anything more than a solidly made and terrifically entertaining TV distraction, neat and crisp as citrus soda.
    • 70 Metascore
    • 70 Melanie McFarland
    In taking an illuminative approach, HBO gives audiences a comprehensive series that covers an impressive amount of ground.
    • 64 Metascore
    • 70 Melanie McFarland
    This is not a shoot-the-moon, wholly unique story, but it's comforting and thoughtful.
    • 61 Metascore
    • 70 Melanie McFarland
    Relentlessly odd as "Meadowlands" can be, don't be surprised if it seduces you.
    • 65 Metascore
    • 60 Melanie McFarland
    There's certainly entertainment value in watching Tyra Banks acting as both boot camp sergeant and self-promoting mannequin. [10 Jun 2003]
    • Seattle Post-Intelligencer
    • 74 Metascore
    • 60 Melanie McFarland
    Skin deep? A tad predictable? Certainly. But Nip/Tuck is nonetheless a TV addiction. We watch, mesmerized by the series' cool surface appeal and the nasty ooze pulsating beneath. We grimace when we should, and when we shouldn't, and at the end we, the Nip/Tuck addicts, want more. [22 June 2004, p.E1]
    • Seattle Post-Intelligencer
    • 67 Metascore
    • 60 Melanie McFarland
    If you don't take it too seriously, it can be tremendous fun in a Saturday matinee kind of way.
    • 63 Metascore
    • 60 Melanie McFarland
    But is it too much to ask for these girls to have a bit more fun? This is one series that really needs to swing that way. For a bunch of glamorous, well-dressed womyn who spend a lot of time hanging out at a cool cafe, they sure do suffer from an excess of unease. [17 Jan 2004, p.E2]
    • Seattle Post-Intelligencer
    • 73 Metascore
    • 60 Melanie McFarland
    As enjoyable as it is to keep up with Vince (Adrian Grenier) on the eve of attaining superstardom in "Aquaman," "Entourage" has yet to display much substance.
    • 53 Metascore
    • 60 Melanie McFarland
    Against everything else available to viewers, "Huff" is premium cable-grade content without the "wows" that justify the extra expense.
    • 66 Metascore
    • 60 Melanie McFarland
    "Hex" may not be stupendous TV, but for a decent summer thrill, nothing on broadcast holds a candle to it.
    • 54 Metascore
    • 60 Melanie McFarland
    Those still smarting over [Judging Amy's] cancellation may take a while to warm up to the way "Close to Home" wraps justice in a small fuzzy blanket.
    • 44 Metascore
    • 60 Melanie McFarland
    You probably can tell that this thing isn't bound for the sitcom hall of fame, but it's a good time.
    • 53 Metascore
    • 60 Melanie McFarland
    There's something weirdly charming about the pair's chemistry.
    • 40 Metascore
    • 60 Melanie McFarland
    A touch of "Friends" with "Odd Couple" undertones.
    • 72 Metascore
    • 60 Melanie McFarland
    The pilot is enough to make you curious -- if it holds your attention to the end, that is.
    • 64 Metascore
    • 60 Melanie McFarland
    "It's Always Sunny" peddles immaturity and discomfort with remarkable wit in a few instances. [4 Aug 2005]
    • Seattle Post-Intelligencer
    • 65 Metascore
    • 60 Melanie McFarland
    A few kinks are painfully apparent. Foremost among them is the blowhard persona Colbert forces on us for half an hour. It feels like a weaker extension of "The Daily Show."
    • 59 Metascore
    • 60 Melanie McFarland
    "My Boys"... has development potential if you can get past the notion that it's been done to death.
    • 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.
    • 59 Metascore
    • 50 Melanie McFarland
    The show comes with a built-in demographic: viewers who enjoy sweaty, scantily clad women waging war on roller skates. "Rollergirls" just needs to lure them back from the Internet.
    • 51 Metascore
    • 50 Melanie McFarland
    In spite of [Scott's] fine performance, though, nothing elevates this drama about people on the verge of death and disaster into something other than ordinary.
    • 57 Metascore
    • 50 Melanie McFarland
    With the unvarnished truth dangling like a carrot before a carthorse, there's ample reason for crime-show junkies to cling to "Justice," although some mysteries will be more worth seeing through to the end than others.
    • 49 Metascore
    • 50 Melanie McFarland
    So what we have here is "Miami Vice" minus the palm trees and sports cars, and plus a sliver of an earnest message.
    • 57 Metascore
    • 50 Melanie McFarland
    Now we're back to Bionic Woman and Jaime Sommers--only under the surgical knife of executive producer David Eick, who had a hand in reshaping "Battlestar Galactica" to suit modern sensibilities, the rebuilt is wussier and darker than Wagner ever was.
    • 68 Metascore
    • 42 Melanie McFarland
    Although it feigns to focus on Eric's struggle to rein in this herd of licentious Peter Pans, Entourage lacks a believably strong central character and fails to lay out any plot direction or coming tension. Connolly has potential, but the best you can say about his and every other Entourage character is that they're tolerable. [17 July 2004, p.E6]
    • Seattle Post-Intelligencer
    • 29 Metascore
    • 40 Melanie McFarland
    "Twenty Good Years" is not flat-out awful. It's nowhere close to great, either.
    • 58 Metascore
    • 40 Melanie McFarland
    Dull. Not terrible, but dull. [3 Jan 2005]
    • Seattle Post-Intelligencer
    • 58 Metascore
    • 40 Melanie McFarland
    A reality/sitcom hybrid. How revolutionary. [3 June 2005, p.E1]
    • Seattle Post-Intelligencer
    • 39 Metascore
    • 40 Melanie McFarland
    Interesting, but the sprawling pilot doesn't do "Surface" any favors.
    • 51 Metascore
    • 40 Melanie McFarland
    Around 11 p.m. on Wednesday, you'll be asking yourself what the hell happened.
    • 55 Metascore
    • 40 Melanie McFarland
    "Bones" probably will remind more viewers of a cross between "CSI" and "The X-Files," except with more humorous banter than the first, and more romantic heat than the latter.
    • 42 Metascore
    • 40 Melanie McFarland
    "Criminal Minds" doesn't present any spin on the crime TV genre you haven't seen before, save for taking savagery against female victims to new heights.
    • 45 Metascore
    • 40 Melanie McFarland
    Whether audiences will find the show's consumerism-as-reward message interesting enough to keep coming back is tough to predict.
    • 51 Metascore
    • 40 Melanie McFarland
    File this under "We'll See."
    • 52 Metascore
    • 40 Melanie McFarland
    One could never call "The Path to 9/11 " poorly filmed and amateurishly acted. Just questionably written.
    • 51 Metascore
    • 40 Melanie McFarland
    For a show like Women's Murder Club to hit its target, viewers need to feel the desire to know these people--either because their jobs are exciting or their personal lives are spicy. But with this show, there's not enough spark to their jobs or lives to keep you on the couch on a Friday night.
    • 59 Metascore
    • 40 Melanie McFarland
    The only person with untainted clues as to the person Samantha really was is the doorman to her apartment building, Frank (Tim Russ), and the combination of all these factors creates a premiere that is as pathetic as it is occasionally funny.
    • 45 Metascore
    • 40 Melanie McFarland
    Private Practice manages to turn the viewer off in an entirely different way from the moment it starts.
    • 63 Metascore
    • 30 Melanie McFarland
    Three years off the air has not made the "Family Guy" team that much more creative. [30 Apr 2005]
    • Seattle Post-Intelligencer
    • 57 Metascore
    • 30 Melanie McFarland
    There's "The Apprentice's" colossal flaw, besides forcing us to bear witness to Trump's egomania: Watching these business lions and tigresses in action is about as thrilling as collating thousands of documents.
    • Seattle Post-Intelligencer
    • 69 Metascore
    • 30 Melanie McFarland
    The most unfortunate victims of Kelley's sad attempt at recapturing the funky fun of his past and mixing in what gravitas he can scrounge up are two otherwise fine characters, Spader's impishly amoral Alan Shore and Shatner's extroverted nut case Denny Crane. [2 Oct 2004]
    • Seattle Post-Intelligencer
    • 51 Metascore
    • 30 Melanie McFarland
    All the clever, sexy banter in this thing cannot cover up its utter lack of believability, from the casting to the excessively hip repartee.
    • 44 Metascore
    • 30 Melanie McFarland
    It's not a terrible show; if you don't have anything else to watch, well, it won't kill you.
    • 65 Metascore
    • 30 Melanie McFarland
    A fat snooze.
    • 50 Metascore
    • 30 Melanie McFarland
    The script is laden with corny dialogue, and the plot is predicated upon ridiculous strains in credulity -- to say nothing of the acting.
    • 43 Metascore
    • 30 Melanie McFarland
    Had "Boston Legal" not perfected the art of office insanity, "Head Cases" ... actually, nope, can't even say it would have a shot in that circumstance.
    • 40 Metascore
    • 30 Melanie McFarland
    You'll see nothing that hasn't been done on other networks and with higher skill, energy and imagination.
    • 48 Metascore
    • 30 Melanie McFarland
    It looks a lot less like "Kolchak" than like a cup of weakly brewed "X-Files" -- minus the spice and clever humor.
    • 37 Metascore
    • 30 Melanie McFarland
    Next week's episode comes across a lot like the part of the porn script that begs for the fast-forward button. Seriously, it's all there -- beautiful women in tight outfits, thick innuendo, weak setups and thin plot progression.
    • 45 Metascore
    • 30 Melanie McFarland
    "Free Ride," though improvised, feels like every other Fox comedy that has come and gone: It has generic young stars stuck in a stale boy-pines-for-girl story line.
    • 39 Metascore
    • 30 Melanie McFarland
    This show may cause diabetes.
    • 45 Metascore
    • 30 Melanie McFarland
    It sounds like the kind of "keeping up with HBO" series Showtime would do, except the premium cable channel already aired an Irish mobster series, "Brotherhood." And it had richer characters and superior plotting.
    • 59 Metascore
    • 30 Melanie McFarland
    Hang out for a while... and you may quickly realize why you didn't stay in touch with most of your fellow third-graders. People like these suck the life out of you.
    • 25 Metascore
    • 30 Melanie McFarland
    This is merely another dead-on-arrival series to add to the mountain of failures Fox has hurled our way over the past few seasons.
    • 38 Metascore
    • 30 Melanie McFarland
    Forget the epidural, you'll need laughing gas, stat.
    • 50 Metascore
    • 30 Melanie McFarland
    The only thing a person can be certain of after watching "John From Cincinnati" is this: Any die-hard "Deadwood" fan interested in keeping the veins in his forehead intact should not bother with it.
    • 33 Metascore
    • 30 Melanie McFarland
    We're all for handsome guys exploring their feminine side, but we want posters of them holding babies, not being them.
    • 57 Metascore
    • 30 Melanie McFarland
    You'd expect Cane to follow in the tradition of "Dallas" by giving viewers a potboiler to look forward to each week, but there are too many subplots knotted together in the opening episode, and none of them is particularly interesting.
    • 53 Metascore
    • 30 Melanie McFarland
    Gossip Girl lacks the heart, humor and sweetness that balanced out the soapy happenings on "The O.C."
    • 64 Metascore
    • 30 Melanie McFarland
    It's unfair to lay every fault on the actors when the dialogue is so insubstantial, verging on sophomoric and mawkish in a few exchanges
    • 38 Metascore
    • 30 Melanie McFarland
    It takes a while to connect to these characters, and those who show up might not be willing to stick around until the melodrama kicks in.
    • 36 Metascore
    • 20 Melanie McFarland
    What began as a demonstration of good actors adventurously struggling with a badly written script has been revamped into a demonstration of good actors desperately struggling with a badly written script, with a chortling studio audience thrown in for good measure. [14 Apr 2003]
    • Seattle Post-Intelligencer
    • 45 Metascore
    • 20 Melanie McFarland
    That, friends, is bad TV. [3 Oct 2003, p.E1]
    • Seattle Post-Intelligencer
    • 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.
    • 39 Metascore
    • 20 Melanie McFarland
    More proof that even Jerry Bruckheimer can spit out barely watchable productions.
    • 41 Metascore
    • 20 Melanie McFarland
    Beautiful people, perky and unrealistic dialogue and male characters who have all dropped their huevos in jars of vinegar.
    • 32 Metascore
    • 20 Melanie McFarland
    This baby doesn't look like it'll make it full term.
    • 22 Metascore
    • 20 Melanie McFarland
    Unfortunately, it doesn't come close to matching [Girlfriends'] appeal.
    • 44 Metascore
    • 20 Melanie McFarland
    "Windfall's" concept becomes increasingly muddled. Is it a bad soap opera, or a sluggish thriller?
    • 47 Metascore
    • 20 Melanie McFarland
    There comes a point at which sisterhood becomes powerfully irritating, and "Related" finds it within the first 40 minutes of its existence.
    • 31 Metascore
    • 20 Melanie McFarland
    This "Sex and the City" wannabe contains neither heat nor giggles.
    • 28 Metascore
    • 20 Melanie McFarland
    We wonder whether the problem isn't in the casting but the paper-thin punch lines. No, wait, we don't wonder... we know that's the problem.
    • 29 Metascore
    • 20 Melanie McFarland
    "South Beach" could fall into guilty pleasure territory, but it really is as corny as it sounds.
    • 48 Metascore
    • 20 Melanie McFarland
    A catastrophic nuclear crisis never looked as boring and convoluted as it does here.
    • 28 Metascore
    • 20 Melanie McFarland
    Besides making every aspect of dating and mating look depressing, it's hard to come up with a reason to spend time with any of these characters.
    • 37 Metascore
    • 20 Melanie McFarland
    "Standoff" fails to connect on almost every level.
    • 27 Metascore
    • 20 Melanie McFarland
    "The Class," not a terrific sitcom by any stretch of the imagination, trades in this quarterlife crisis nonsense each week far better than "Emergency" does.
    • 48 Metascore
    • 20 Melanie McFarland
    Line by line, scene by scene, we're given improbable scenarios played out by a pinched and robotic character.
    • 35 Metascore
    • 20 Melanie McFarland
    This is the skin of a David E. Kelley show with none of the usual muscle, brains, spirit or cheek behind it.
    • 52 Metascore
    • 20 Melanie McFarland
    The only thing dull, disappointing Journeyman can do is lower our pulse rates to ready us for beddy-bye.
    • 47 Metascore
    • 10 Melanie McFarland
    This is comedian Louis C.K.'s attempt to lampoon the classic half-hour sitcom, if by lampoon you mean drown it in toxic failure.
    • 33 Metascore
    • 10 Melanie McFarland
    An absolute mess.
    • 28 Metascore
    • 10 Melanie McFarland
    The imaginations behind "Painkiller Jane" are so thin, and each hour's progression so randomly executed, that one imagines the scripts were written using the Mad Libs method.
    • 41 Metascore
    • 10 Melanie McFarland
    [A] stupid, stupid nighttime soap.
    • 29 Metascore
    • 10 Melanie McFarland
    The problem is a lack of depth; "Joan of Arcadia," the series this is replacing, had heartfelt moments and significant emotion behind its storylines. Whereas this has Love telling ghosties to head for the light.
    • 64 Metascore
    • 10 Melanie McFarland
    Worst of all is the writing's low-bar comedy; it's so weak that the laugh track doesn't just sound forced, it sounds as if the audience has a gun to its head.
    • 35 Metascore
    • 10 Melanie McFarland
    Largely worthless.
    • 29 Metascore
    • 10 Melanie McFarland
    The joke goes from bad to grim within minutes.
    • 40 Metascore
    • 10 Melanie McFarland
    [A] laugh-free comedy.
    • 45 Metascore
    • 10 Melanie McFarland
    "Hidden Palms"... starts out feeling like it could be a guilty pleasure but ends up being something you want to hold face down in a full kiddie pool.
    • 27 Metascore
    • 10 Melanie McFarland
    "Dynasty" plays like Tennessee Williams in comparison.
    • 31 Metascore
    • 10 Melanie McFarland
    OK, it could be better. A lot better.
    • 42 Metascore
    • 10 Melanie McFarland
    There's no reason to sugarcoat this: Watching Williams made me want to nod off.
    • 37 Metascore
    • 0 Melanie McFarland
    Awful doesn't begin to accurately describe this sitcom.
    • 28 Metascore
    • 0 Melanie McFarland
    This is awful.
    • 23 Metascore
    • 0 Melanie McFarland
    To put it mildly, and succinctly, it's appalling.
    • 38 Metascore
    • 0 Melanie McFarland
    This vampire detective show (sorry, can't resist this) is one that first bites, then sucks. Hard.

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