Melanie McFarland

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For 294 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 7.9 points lower than other critics. (0-100 point scale)

Melanie McFarland's Scores

Average review score: 59
Highest review score: 100 Desperate Housewives: Season 1
Lowest review score: 0 Moonlight: Season 1
Score distribution:
  1. Negative: 62 out of 294
294 tv reviews
    • 81 Metascore
    • 100 Melanie McFarland
    Rarely if ever has watching psychological torture felt so goddamn enticing.
    • 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
    • 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.
    • 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
    • 85 Metascore
    • 100 Melanie McFarland
    To call "Deadwood" great television doesn't begin to do it justice.
    • 77 Metascore
    • 100 Melanie McFarland
    The conscientious visual style that Fuller honed on “Hannibal” achieves riotous new heights of sensuality in this series. Green, a DC Comics veteran whose television credits include serving as an executive producer on “Heroes,” aids in harmonizing the story’s surfeit of histories and personalities into an intelligible and spellbinding structure.
    • 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
    If there ever was a series that makes HBO a necessity, "The Wire" is it.
    • 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.
    • 79 Metascore
    • 100 Melanie McFarland
    Each episode provides everything you would want from a comedy: originality, elegantly crude humor, genuine warmth and heartbreak.
    • 75 Metascore
    • 100 Melanie McFarland
    "Masterpiece" isn't too strong a word to describe this series.
    • 88 Metascore
    • 90 Melanie McFarland
    Real and relatable, "Chris" may be the best new comedy of a season filled with sitcoms worth viewing.
    • 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.
    • 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
    • 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.
    • 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
    • 88 Metascore
    • 90 Melanie McFarland
    Few stars can write and play a kicked-in-the-mouth underdog as smartly as Gervais does here.
    • 84 Metascore
    • 90 Melanie McFarland
    Its larger accomplishment of showcasing Rae’s talents and underrepresented characters in a sublime comedy is worth celebrating.
    • 79 Metascore
    • 90 Melanie McFarland
    Any viewer, regardless of political stripe, can [have] something to embrace in the Alvarez family, which is true of Lear’s oeuvre in general. By taking the classic family sitcom and making it feel vital and relevant, the show has invited us to connect to the truths we hold in common. Sometimes refreshing the familiar is precisely the entertainment we need.
    • 81 Metascore
    • 90 Melanie McFarland
    As the title implies, GLOW wins top ranking by serving up a sensational story that’s brilliant for summer, but timeless as well. Wrestling may be fake, but the relationships these characters forge throughout the story ring true.
    • tbd Metascore
    • 90 Melanie McFarland
    The unflustered audacity of the plot is just one of the elements that makes Queen Sugar a rare act of beauty and bravery on television. While it caters to the tropes and archetypes that television viewers want in addictive storylines, each episode is unquestionably cinematic in scope and execution as it weaves an enticing and unapologetically political narrative.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 90 Melanie McFarland
    As hilariously scalding onscreen as it is on the daily comics pages.
    • 82 Metascore
    • 90 Melanie McFarland
    The ‘60s pop art-inspired style with which Hawley initially presents “Legion” speaks to an extraordinary level of creative intricacy and care in his storytelling. Aesthetically adventurous and candy-colored as the drama’s opening hours are, they’re also part of a compelling TV experiment.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 90 Melanie McFarland
    Sneaky Pete is a series made for devouring. As good as the premiere is, the next episode is better. The promises made in the second episode are delivered and expanded upon in the third. This is a show populated with enjoyable characters that spins a familiar conceit, the crime drama, in a way that feels bright and original.
    • 76 Metascore
    • 90 Melanie McFarland
    Langford and Minnette are the magnetic core of this drama. Separately and together, they have a dynamic chemistry that glows when they share the screen and energizes their scenes with others.
    • 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.
    • 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
    • 88 Metascore
    • 90 Melanie McFarland
    To see Larry behave so socially recklessly each week is a tremendous treat. [2 Jan 2004]
    • Seattle Post-Intelligencer
    • 94 Metascore
    • 90 Melanie McFarland
    More relevant and biting than it has ever been.
    • 81 Metascore
    • 90 Melanie McFarland
    Besides being the funniest pilot, it has the best cast.
    • 90 Metascore
    • 90 Melanie McFarland
    The second season, which kicks off Sunday at 10:30 p.m., flows with more confidence and pluck than the first right off the bat--a good show that has only improved. Often a second season pick-up is the endorsement a creator needs to relax into her vision. Rae certainly has.
    • 81 Metascore
    • 90 Melanie McFarland
    The Crown is as superb and heavy as, well, the actual crown.
    • 86 Metascore
    • 83 Melanie McFarland
    Outstanding. [21 July 2004, p.E6]
    • Seattle Post-Intelligencer
    • 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
    • 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.
    • 75 Metascore
    • 80 Melanie McFarland
    Performances by a stalwart cast ensure that Guerrilla works in spite of these shakier elements.
    • 63 Metascore
    • 80 Melanie McFarland
    Guide to Style is smart, fun and instructive, emphasizing enlightenment over shame and choice over following orders.
    • 78 Metascore
    • 80 Melanie McFarland
    Don’t worry about its underlying themes too much because three seasons in, the humor in Kimmy Schmidt is still among the sharpest and brainiest on television.
    • 85 Metascore
    • 80 Melanie McFarland
    Naturally some Broadchurch fans are bound to be disappointed if this mystery’s resolution doesn’t deliver a gut punch that feels as impactful as the Latimer case; such is the way of series endings. But it’s tough to find fault in Colman’s and Tennant’s portrayal of partnership.
    • 79 Metascore
    • 80 Melanie McFarland
    Plain wonderful.
    • 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
    • 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.
    • 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
    • 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.
    • 72 Metascore
    • 80 Melanie McFarland
    Carefully crafted performances balance the hilarity with notes of trauma lurking within, adding a winning sincerity to People of Earth.
    • 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.
    • 77 Metascore
    • 80 Melanie McFarland
    It is something rare and wonderful, a remarkable, original vision.
    • 75 Metascore
    • 80 Melanie McFarland
    "Ugly Betty" may be the fall's best new series.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 80 Melanie McFarland
    What “Wizard of Lies” lacks in terms of a broader historical span is compensated for by telling Madoff’s tale as a classical tragedy about hubris and human cost--only in this case we watch as the villain’s wife and children take the brunt of the toll. DeNiro and Pfeiffer are as formidable in their roles as one would expect them to be, and the easy conversational flair with which Henriques squares off with DeNiro is incredible.
    • 83 Metascore
    • 80 Melanie McFarland
    As the story draws toward its end, it reframes its original questions about the power and consequences of creation by adding new wrinkles to ponder that echo current conversations about feminism and a woman’s right to choice. ... The relationships between the various clones and the people around them are what grant Orphan Black a level of humanity other science fiction series lack.
    • 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.
    • 62 Metascore
    • 80 Melanie McFarland
    Dirk Gently’s Holistic Detective Agency” may start in an oddly untethered state, but it is marvelously strange and entertaining enough to warrant sticking around as its heroes and writers connect the dots.
    • 77 Metascore
    • 80 Melanie McFarland
    The series quickly establishes itself as an elegant study in horror.
    • 76 Metascore
    • 80 Melanie McFarland
    The greatest strength of these new episodes lies in Moura’s expansion of his character’s portrait, allowing us to contemplate the chilling dichotomy of Escobar’s personality.
    • 75 Metascore
    • 80 Melanie McFarland
    From the opening scene on, the “Selma” director lends her creative strengths to the story, saturating every scene with the sumptuous visuals afforded by the story’s Louisiana setting.
    • 68 Metascore
    • 80 Melanie McFarland
    Each hour has a drag to it, one that feels hypnotically weird and is interrupted by spasmodic bursts of violence and disarming farce. All of that lends an aura of honesty to this story of life inside the world of intelligence might. ... A taste worth acquiring.
    • 85 Metascore
    • 80 Melanie McFarland
    Each related subplot plays out over the course of the first three episodes of season 4, finding three of the show’s characters grappling with existential crises. And as their stories progress, O’Malley, who penned the first two episodes, and fellow producers Luther M. Mace and Paul Oakley Stoval exercise the show’s ability to solidly walk a fine line between aching tragedy and dark, legitimately funny slapstick.
    • tbd Metascore
    • 80 Melanie McFarland
    A series that grants a measure of grace to a morally challenged female character, Teresa, whose loyalty to Camila is fertilized not by blind trust or fear, but survival and vengeance. These new episodes elevate these ingredients far more than the first season ever did, and the plot and performances are immediately much more compelling because of this new emphasis.
    • 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.
    • 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
    • 79 Metascore
    • 80 Melanie McFarland
    In place of the first season’s harrowing escape plot is a story of defiance and resistance that clarifies the purpose of each character’s mission.
    • 79 Metascore
    • 80 Melanie McFarland
    The purity of feeling in Better Things weaves their stories together in such a way that feels warm and real. Yet many of the most successful moments within the five preview episodes made available to critics stem from Sam’s professional and personal lives crashing into one another.
    • 81 Metascore
    • 80 Melanie McFarland
    An unusual holiday trip. Fortunately for us, it’s one worth taking.
    • 85 Metascore
    • 80 Melanie McFarland
    Where the series really shines is in using its established characters to tell the same story from an array of angles, informed by a medley of experiences.
    • 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
    • 81 Metascore
    • 80 Melanie McFarland
    That’s part of the reason the show’s stories and characters feel honest and familiar; even if you don’t smoke, you probably know people who are just like The Guy’s customers. You may even recognize yourself in one of those people.
    • 89 Metascore
    • 80 Melanie McFarland
    "24" roars back brilliantly.
    • 91 Metascore
    • 80 Melanie McFarland
    Simply put, it’s a show long on style, hitting all the right aesthetic tones, but with enough substance and intimacy to allow Ansari and his co-creator Alan Yang to indulge in deliberately tailored visual flights of fancy.
    • 73 Metascore
    • 80 Melanie McFarland
    Pete has yet to figure out that the art of winning an audience is perfected through enthusiastically failing again and again. Crashing shows that Holmes has already mastered that lesson and has moved on to quietly, honestly killing it.
    • 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.
    • 67 Metascore
    • 80 Melanie McFarland
    Billions hasn’t abandoned any of the various subtexts that make it so absorbing; in fact, the decreased furor means it brings more attention to those themes.
    • 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
    • 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
    • 79 Metascore
    • 80 Melanie McFarland
    "This American Life" lost none of its authenticity in transition from radio to Showtime.
    • 88 Metascore
    • 80 Melanie McFarland
    At the end of a long work week few television diversions look as sweet. And don’t be shocked if you wake up Saturday with a hankering for pancakes--and the confidence that you can make them from scratch.
    • 74 Metascore
    • 80 Melanie McFarland
    Any potential discomfort one may have with the subject is soon overwhelmed by the spirited intelligence and sharp style with which this series is executed.
    • 71 Metascore
    • 80 Melanie McFarland
    It’s a shockingly witty and enjoyable slant on the television romantic comedy. Only here, the romantic lead and hero is a dog for whom there are no half measures.
    • 82 Metascore
    • 80 Melanie McFarland
    The story hits the gas immediately in season two, immediately juicing up the excellent comedic chemistry between Campbell, DeLorenzo and Santiago while taking the story into fraught emotional spaces for Ash.
    • 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
    The drama’s dual flirtations with death and danger add an engrossing unpredictability to the mix that Dhavernas uses to her advantage.
    • 70 Metascore
    • 80 Melanie McFarland
    Fugit depicts Barnes with the scraggly desperation of a starving, wounded animal. With his poignant portrayal securely holding each hour’s center, Outcast quickly mutates from a creepfest into a tragedy about doubt, coping and human frailty.
    • 77 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.
    • 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.
    • 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.
    • 85 Metascore
    • 80 Melanie McFarland
    Originally scheduled to premiere in March, Bright Lights is a mirthful portrait of Reynolds’ and Fisher’s extraordinary connection above all else, even as it reminds viewers of the toll attachment can take on a body and spirit.
    • 59 Metascore
    • 80 Melanie McFarland
    "Psych" is one of those happy collisions of an intelligent script and an appealing cast.
    • 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.”
    • 71 Metascore
    • 80 Melanie McFarland
    Kaczynski’s combative relationship with Fitz shows how alike two determined men on opposite ends of a spectrum can be. Only here the dichotomy is not good or evil or right or wrong, but law against chaos, order over freedom. Manhunt: Unabomber walks across that scale with careful consideration and sustains an engaging level of tension throughout the seven of its eight episodes provided for review.
    • 76 Metascore
    • 80 Melanie McFarland
    Life is cheap in Preacher, and the action is as mordantly hilarious as the humor is obscene. The soundtrack, too, is utilized to highly ironic effect.
    • 86 Metascore
    • 80 Melanie McFarland
    All the praise heaped on Pushing Daisies, and every declaration about the dramedy's originality, is merited.
    • 73 Metascore
    • 80 Melanie McFarland
    Bacon, Hahn and Griffin Dunne headline a talented cast delivering provocative performances, each enabling the work’s directors to transcend any prescribed notions about episodic structure or storytelling norms.
    • 79 Metascore
    • 80 Melanie McFarland
    Luke Cage is not a quick binge, but there’s something to appreciate in its 1970s noir-influenced pacing. As slow burns go, this one rewards patient viewing.
    • 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.
    • 63 Metascore
    • 70 Melanie McFarland
    The Defenders manages to overcome Rand’s initially central role in this plot by leaping between the narratives of his more compelling teammates without spending an excessive amount of exposition on their backstories. Ritter, Colter and Cox are still wonderful in their roles, though some may miss the wit that pervaded “Jessica Jones” and the first season of “Daredevil.”
    • 59 Metascore
    • 70 Melanie McFarland
    With Time After Time he’s struck a balance between honest emotional resonance and salacious violence. Strangely enough, this combination makes this midseason series more charming and enjoyable than one would expect.
    • 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
    • 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.
    • 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.
    • 52 Metascore
    • 70 Melanie McFarland
    This is TV sugar with an IQ and a pulse -- clever, revved-up, often funny, sometimes devastating.
    • 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.
    • 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.
    • 61 Metascore
    • 70 Melanie McFarland
    Borders on terrific at times and falters in others.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Melanie McFarland
    It's a good show waiting to happen, television cliches and all. [5 Aug 2005]
    • Seattle Post-Intelligencer
    • 73 Metascore
    • 70 Melanie McFarland
    True, it's not quite "Tales From the Crypt" but is better than "Tales From the Darkside."
    • 65 Metascore
    • 70 Melanie McFarland
    "Army Wives" is a series that sucks you in on the strength of its characters.
    • 57 Metascore
    • 70 Melanie McFarland
    An immensely enjoyable premiere.
    • 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.
    • 74 Metascore
    • 70 Melanie McFarland
    Very little of this re-entry into “Twin Peaks” makes any sense. Yet it’s admirable that the drama’s creators have found a way to update the universe without relinquishing its signature atmosphere. The story still wields the power to mystify and confuse, even 26 years after the original episodes ended.
    • 64 Metascore
    • 70 Melanie McFarland
    This is not a shoot-the-moon, wholly unique story, but it's comforting and thoughtful.
    • 65 Metascore
    • 70 Melanie McFarland
    What Scientology and the Aftermath lacks in cinematic polish and the caliber of familiar celebrities featured in “Going Clear”--director Paul Haggis, one of the most famous Hollywood adherents to publicly defect from the Church prior to Remini, led off Gibney’s documentary--is somewhat supplanted by Remini’s honest anger and frustration, both of which blaze across the screen in reaction to particularly damning revelations. Remini’s overall likability is this program’s most valuable asset.
    • 70 Metascore
    • 70 Melanie McFarland
    In taking an illuminative approach, HBO gives audiences a comprehensive series that covers an impressive amount of ground.
    • 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.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 70 Melanie McFarland
    Relentlessly odd as "Meadowlands" can be, don't be surprised if it seduces you.
    • 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.
    • 76 Metascore
    • 70 Melanie McFarland
    Those tuning in are likely to be won over by its bawdy humor and fascinated by the crisp, frenetic choreography during the premiere’s numerous fight scenes; literally every central character gets a chance to get his or her licks in. What remains to be seen is whether those who fall for Preacher’s premiere have the patience to stick with it after the pace slows, which it does quite noticeably by episode two.
    • 63 Metascore
    • 70 Melanie McFarland
    Bill Nye Saves the World is a convivial series that imports elements from Nye’s old series (mainly those amusing demos with bubbling colorful liquids, Bunsen burners and flasks) into a format that resembles “The Daily Show.”
    • 59 Metascore
    • 70 Melanie McFarland
    "Supernatural" plays like a high-octane B-flick. You could be mildly ashamed at how much you like it.
    • 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.
    • 65 Metascore
    • 70 Melanie McFarland
    Dockery and Botto have heat to spare, and troubling as Letty and Javier’s partnership may be, the actors’ performances make us believe that the two have enough in common for the plot to evolve into a standout narrative.
    • 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.
    • 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
    • 68 Metascore
    • 70 Melanie McFarland
    There’s a lot of appreciate about these early episodes of Riverdale, if not outright adore. There’s also tremendous space for improvement, which is true of most series tasked with servicing a large ensemble of characters.
    • 77 Metascore
    • 70 Melanie McFarland
    Even when an episode feels slower-paced than others, as this one does, Weiss’s and Benioff’s plot structuring keeps the action moving. And subplots circle back on themselves, with purpose.
    • 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.
    • 62 Metascore
    • 60 Melanie McFarland
    It's all very quirky. Too quirky, maybe, for an audience that is used to spaceships, robots and explosions.
    • 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.
    • 64 Metascore
    • 60 Melanie McFarland
    It’s a messy, feather-light romp that establishes early on that, among other things, the past smelled pretty bad.
    • 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
    • 69 Metascore
    • 60 Melanie McFarland
    [It] vacillates between riveting and middling.
    • 40 Metascore
    • 60 Melanie McFarland
    A touch of "Friends" with "Odd Couple" undertones.
    • 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
    • 62 Metascore
    • 60 Melanie McFarland
    Snowfall meanders more than some people may have the patience to endure, and the details written into some of its dialogue may complicate its pacing more than illuminating the tale. On top of that, it’s a slow burn. But its potential is intoxicating, and the high caliber of its writing--shepherded by Andron as its showrunner and producers such as Thomas Schlamme and Leonard Chang--glows throughout its initial hours.
    • 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?"
    • 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."
    • 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.
    • 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
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 60 Melanie McFarland
    There's something weirdly charming about the pair's chemistry.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 60 Melanie McFarland
    "My Boys"... has development potential if you can get past the notion that it's been done to death.
    • 54 Metascore
    • 60 Melanie McFarland
    No series following an easy delight like "Grey's Anatomy" should be this much of a downer.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 60 Melanie McFarland
    Chuck is, at its best, cute--and that's not enough to keep up with the big dogs.
    • 42 Metascore
    • 60 Melanie McFarland
    The writers are in no hurry to speed up the trio’s rise to celebrity, though, and if your taste aligns with Daniels’ brand of saucy escapism, you may want this ride to last as long as possible.
    • 67 Metascore
    • 60 Melanie McFarland
    The miniseries reaches for the sweep and heft of a theatrical effort, although an excess of earnestness prevents it from fully taking off.
    • 67 Metascore
    • 60 Melanie McFarland
    The jokes that hit their target almost make up for the wide misses.
    • 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.
    • 56 Metascore
    • 60 Melanie McFarland
    The series hikes through that strange territory where objectification and empowerment meet and are rebranded as modern feminism. ... The charm of The Bold Type is in the way it illustrates the role that these magazines play in the modern woman’s life, for better or worse.
    • 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.
    • 50 Metascore
    • 60 Melanie McFarland
    If you used to be a “Burn Notice” devotee, and have re-watched every “Breaking Bad” and “Better Call Saul” episode to the point that the episodes have lost their sheen, you may find something enjoy here. That something may be Donovan’s performance. The actor lends a remarkable sensitivity to what could be an entirely odious character.
    • 72 Metascore
    • 60 Melanie McFarland
    The pilot is enough to make you curious -- if it holds your attention to the end, that is.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Melanie McFarland
    The viewer truly doesn’t know what they’ll be getting from week to week. But it also makes Room 104 intensely uneven, with a few stories standing out in a crowd that barely transcends a quality rating of middling.
    • 60 Metascore
    • 50 Melanie McFarland
    It would seem that Horgan has a fixation on anxiety-inducing titles, but “Catastrophe” has an upbeat pulse that permeates its humor that is sorely lacking in Divorce. ... [The] best scenes in Divorce aren’t carried by Parker, which is a shame and an error, considering her role as the center of this off-kilter miniature galaxy. Instead, Church generates most of the comedy in the show’s opening episodes, which is terrific.
    • 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.
    • 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
    • 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.
    • 71 Metascore
    • 50 Melanie McFarland
    This all sounds more exciting than it actually turns out to be. ... The costumes and set design of [The White Princess] are an improvement over its predecessor. But the dialogue remains nearly as constrained and unexciting, even though once again an accomplished cast makes heroic efforts to breathe fire into their lines.
    • 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.
    • 57 Metascore
    • 50 Melanie McFarland
    The flaw in this visual and stylistic gem, however, is that the plot beneath all this polish does not contain much in the way of human significance or honesty for a viewer to grab onto.
    • 74 Metascore
    • 50 Melanie McFarland
    Lacking much in the way of humanizing balance in that world behind the curtain, Westworld eventually feels cold and cynical and is yet another HBO series peddling violence, marvelous costume design and poet dialogue in the guise of some great philosophical statement about humanity. What that observation may be exactly is unclear.
    • 51 Metascore
    • 50 Melanie McFarland
    American Gothic eventually reveals itself to be a pedestrian murder mystery that slowly dies on the vine for want of interesting characters.
    • 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.
    • 68 Metascore
    • 50 Melanie McFarland
    The specificity with which he [Paolo Sorrentino] executes The Young Pope speaks to a brand of vision whose interest is the art as opposed to the venue in which it is presented. Consequently, it’s possible to appreciate the magnitude and originality of his extraordinary approach while admitting that it doesn’t effectively tell us the whole story, or the best one.
    • 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
    • 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.
    • 64 Metascore
    • 50 Melanie McFarland
    It isn't a laugh-a-minute free-for-all.
    • 65 Metascore
    • 50 Melanie McFarland
    The series’ first [season] is merely serviceable.
    • 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.
    • 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.
    • 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
    • 53 Metascore
    • 50 Melanie McFarland
    It isn't as funny as it should be.
    • 64 Metascore
    • 50 Melanie McFarland
    The parade of outlandish characters zipping in and out of their lives is distracting enough to confuse the atmosphere. As such, Claws isn’t fully realized as either a drama or a comedy, and its attempts at incorporating some version of the latter appears to be unintentional.
    • 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.
    • 72 Metascore
    • 50 Melanie McFarland
    Its impressive cast can't beef up the show's predictable conflicts and pedestrian secrets.
    • 56 Metascore
    • 50 Melanie McFarland
    Actually, there’s really nothing special about Paige and Jordan, or Mary + Jane, which may not bode well for its long-term survival odds.
    • 75 Metascore
    • 50 Melanie McFarland
    Too bad its uptightness gets in the way of its potential for pleasure--even that of the guilty variety.
    • 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.
    • 60 Metascore
    • 50 Melanie McFarland
    [Katy Mixo's] talent may be the key to buying this new comedy some patience with the audience as it figures out what it wants to be.
    • 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
    • 25 Metascore
    • 42 Melanie McFarland
    Like the shallow exploits of Crockett and Tubbs, Hawaii emphasizes style and flash over substance, powered by the kind of intelligence you'd expect from a coconut.
    • 55 Metascore
    • 40 Melanie McFarland
    Despite boasting an impressive guest star roster that includes Stockard Channing, Danny Pudi, Lauren Lapkus, Mary Lynn Rajskub, Michaela Watkins and many other extraordinary comedy talents, the humor and characters don’t feel altogether hospitable.
    • 67 Metascore
    • 40 Melanie McFarland
    Taboo seem to have aspired to explore a number of complex, uncomfortable issues in the three episodes made available to critics without concretely establishing a thesis about any of them. Provided the viewer isn’t utterly bored or bewildered by what she sees, the show thus far seems like it could go to interesting places. As to where that is exactly, who can say?
    • 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.
    • 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.
    • 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.
    • 39 Metascore
    • 40 Melanie McFarland
    Interesting, but the sprawling pilot doesn't do "Surface" any favors.
    • 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.
    • 48 Metascore
    • 40 Melanie McFarland
    You’d be better off catching up with any number of superior series or films available right now. Life and summer are simply too short to waste on cut-rate visions of doom.
    • 62 Metascore
    • 40 Melanie McFarland
    Being derivative isn’t necessarily a deal breaker for a television series, as long as the acting or the script can elevate the show. But not even Ormond or Haysbert can make their characters seem like anything more than two-dimensional figures. Teale, for all his efforts, barely registers as more than a handsome, brooding face.
    • 51 Metascore
    • 40 Melanie McFarland
    A forgettable teleflick that feels bland and safe, dulling its appeal.
    • 59 Metascore
    • 40 Melanie McFarland
    Your 270 minutes are better spent with those reliable classic episodes [of Prime Suspect] than with Martini’s muddled contribution.
    • tbd Metascore
    • 40 Melanie McFarland
    Cyrus is surrounded by a talented cast, many of whom could have compensated for his lack of ability if the script were better than middling. But it’s tough to ignore how thin the writing is for the female characters, particularly Debbie.
    • 58 Metascore
    • 40 Melanie McFarland
    Dull. Not terrible, but dull. [3 Jan 2005]
    • Seattle Post-Intelligencer
    • 62 Metascore
    • 40 Melanie McFarland
    These opening episodes of Will heave with style at the expense of soul or substance. The real tension of the overall plot doesn’t kick in until the fourth episode, but before that the audience isn’t presented much to hang onto besides a surge of dirty, pretty visuals--and those baubles can only carry a story so far.
    • 60 Metascore
    • 40 Melanie McFarland
    Five seasons in, House of Cards still trades in predictable scripting that recycles the same themes time and again. Even now we’re made to contend with an endless march of one-note side characters and expedient problem-solving via criminality, a set of moves that lost their ability to entice and shock some time ago.
    • 49 Metascore
    • 40 Melanie McFarland
    If you’re going to watch this series, give Hawkins a chance. It’s not his fault that 24: Legacy Coto and Katz have pretty much handed him Jack Bauer’s broken-down, sweaty and funky shoes and asked him to run a marathon in them. ... The element of 24: Legacy that feels especially tedious, though, is its return to the well of radical Islamic terrorism.
    • 58 Metascore
    • 40 Melanie McFarland
    A reality/sitcom hybrid. How revolutionary. [3 June 2005, p.E1]
    • Seattle Post-Intelligencer
    • 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.
    • 45 Metascore
    • 40 Melanie McFarland
    Private Practice manages to turn the viewer off in an entirely different way from the moment it starts.
    • 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
    Around 11 p.m. on Wednesday, you'll be asking yourself what the hell happened.
    • 29 Metascore
    • 40 Melanie McFarland
    "Twenty Good Years" is not flat-out awful. It's nowhere close to great, either.
    • 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.
    • 38 Metascore
    • 30 Melanie McFarland
    Forget the epidural, you'll need laughing gas, stat.
    • 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.
    • 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
    • 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.
    • 44 Metascore
    • 30 Melanie McFarland
    Stoller shapes each episode to indulge the performers’ idiosyncrasies as opposed to servicing the story or character development, and the result is a flimsy story somewhat flogged into shape by hammy eccentricity.
    • 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.

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