User Score

Universal acclaim- based on 50 Ratings

User score distribution:
  1. Positive: 49 out of 50
  2. Mixed: 0 out of 50
  3. Negative: 1 out of 50

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  1. Sep 15, 2011
    Great season in my opinion and easily as good as the first. Asides from the normal damages season arc of catching the bad guy, I felt that the season was very much wrapping up other smaller plots from seasons past - which was a good thing.
    It was nice to see old faces return for a few episodes and it will be a shame to see many of the characters go (unless they appear again in dream forms
    etc).. brilliantly well acted by all involved as per ususal - Tate Donovan stepped up the mark massively and really delivered the performance of his career especially in many of the final episode scenes. Expand
  2. Sep 18, 2012
    The show is great, watch it...........................................................................................................................
  3. May 21, 2012
    Great, Damages back to the great quality of Season 1. After my disappointment with S2 this one seems to have had much more effort in the storytelling and was really well rounded off. Every seemly sidestory grew to become a relevant part of the plot. Fantastic acting as ever.

Universal acclaim - based on 16 Critics

Critic score distribution:
  1. Positive: 16 out of 16
  2. Mixed: 0 out of 16
  3. Negative: 0 out of 16
  1. Reviewed by: Paige Wiser
    It’s a lot to juggle, but you can count on the payoff to be worth the trouble. Power, weakness, greed, violence--what’s not to like?
  2. Reviewed by: Ken Tucker
    Scott is terrific as the conflicted son who's something of a sap, a patsy for Patty and Winstone. Plus, we're promised more Ted Danson as Arthur Frobisher, a reason for celebration. And the bottom line on Close is: Nobody upstages Patty. It's the character's curse, and the actress' triumph.
  3. The series retains its trademark flash forwards that signal murders and/or deceits yet to be revealed. It's one of the show's more operatic touches but this time the revelation, a fantastic and personal driver for stories, feels less like an attempt to manipulate the audience and more rooted in the plausible.