It's an experiment, and one with some rough edges. But Alda, Falco, and Buscemi are powerhouse dramatic actors, and C.K. makes a good reactive foil to them. The first episode (which runs slightly over an hour) feels like such a self-contained story that I have no idea what later installments will be about, or feel like, but I can't wait to see them, whenever they happen to appear.
There is, as in live theater, the occasional hesitance over a line, and the first episode relies on melodramatic twists that don’t always feel earned. But when it really gathers steam--nearly any time Mr. Alda opens his mouth, and especially in his scenes with Ms. Falco--it’s like little else on TV. (If it can be said, technically, to be TV at all.)
If the show has flaws--it’s certainly slow-moving, and the intentional abrasiveness of its characters can sometimes feel cartoonish--they deserve to be forgiven just because of the singularity of vision on display.
Even at its most obvious or ungainly, it's never less than interesting, and it's certainly not shy of conviction; no C.K. fan with an Internet connection and $5 to spare will want to pass it by.
The acting is superb, especially as the tensions become more overt in the second half.... He’d probably kill with the same material [on poltics and current events] in a stand-up show, but in a script about abuse, alcoholism, denial, and family estrangement, it doesn’t quite work. The strength of Horace and Pete is in the age-old themes festering at its heart.
With Horace and Pete, [Louis C.K.'s] ambitions can sometimes outrace his execution, but the commitment of his cast to a consciously old-fashioned kind of drama reminiscent of Arthur Miller and Eugene O’Neill makes the pilot exciting even when it’s a bit stilted.
The show falls short of being worth the fee. Its plot, surprisingly, ended up becoming both fairly complicated and quite maudlin, but the characters are too remote to either follow in byzantine detail or feel for.