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The Sopranos: Season 6
  • Network: HBO
  • Series Premiere Date: Jan 10, 1999
  • Season #: 1 , 2 , 3 , 4 , 5 , 6
Metascore
96 out of 100

Universal acclaim - based on 18 Critics

Critic score distribution:
  1. Positive: 18 out of 18
  2. Mixed: 0 out of 18
  3. Negative: 0 out of 18
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  1. San Francisco Chronicle
    Reviewed by: Tim Goodman
    100
    It's the best series on television, end of story.
  2. USA Today
    Reviewed by: Robert Bianco
    100
    This is The Sopranos at its best -- and that's just about as good as TV ever gets.
  3. Detroit Free Press
    Reviewed by: Mike Duffy
    100
    Masterful.
  4. Orlando Sentinel
    Reviewed by: Hal Boedeker
    100
    The Sopranos unfolds at a more absorbing and imaginative level than TV's strongest series, from ABC's Lost and Grey's Anatomy to Fox's 24 and House.
  5. The New York Times
    Reviewed by: Alessandra Stanley
    100
    [It] may be the most creative and richly imagined [season] yet: it begins by going over old ground and yet something new and totally surprising happens.
  6. TV Guide
    Reviewed by: Matt Roush
    100
    Was it worth the wait? Was it ever!
    All this critic's reviews
  7. Wall Street Journal
    Reviewed by: Dorothy Rabinowitz
    100
    This season's "Sopranos" is quite simply dazzling in its inventiveness, its reach, and one other aspect -- its capacity to pound audiences emotionally as the series has never before done.
  8. Washington Post
    Reviewed by: Tom Shales
    100
    Television's greatest drama series has only gotten greater.
  9. Boston Globe
    Reviewed by: Matthew Gilbert
    100
    The show is back in magnificent form, with all its humor, psychological thorniness, and bleak tragedy intact. It remains the highest peak of series TV.
  10. The Hollywood Reporter
    Reviewed by: Ray Richmond
    100
    The first four installments supplied for review have moments of artsy overindulgence, to be sure, but largely remain true to the show's roots in darkness and absurdity while carving out fresh story arcs that are as compelling as any the writers have ever crafted. It's like peering at a series of train wrecks as rendered by da Vinci.
  11. Baltimore Sun
    Reviewed by: David Zurawik
    100
    Mozart wrote finales for his operas by focusing on a theme sounded in the opening notes, then expanding and building upon it through repetition and the amplification of other voices for a glorious ending. So is David Chase, creator and executive producer of The Sopranos, writing the finale for this landmark TV series - and if this isn't art, then neither is Mozart.
  12. Pittsburgh Post-Gazette
    Reviewed by: Rob Owen
    100
    Maintains the quality viewers have come to expect.
  13. Entertainment Weekly
    Reviewed by: Gillian Flynn
    91
    The more leisurely pace allows for some singular moments. [17 Mar 2006, p.101]
  14. Los Angeles Times
    Reviewed by: Paul Brownfield
    90
    The thing about "The Sopranos" is that strands of character detail -- Carmela Soprano's fingernails, the way Tony breathes through his nose when he eats -- stay with you long after you've forgotten whose cut of a garbage route has precipitated a beef between which wiseguys.
  15. Seattle Post-Intelligencer
    Reviewed by: Melanie McFarland
    90
    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.
  16. Variety
    Reviewed by: Brian Lowry
    90
    Not all "The Sopranos'" flights of fancy pan out... but it never fails to fascinate, creating a completely organic world in which it's easy to forget the art and artifice that go into realizing Chase's vision.
  17. New York Daily News
    Reviewed by: David Hinckley
    88
    There's enough classic "Sopranos" action -- some of it involving extreme physical violence -- to remind the average person that where the Sopranos are is not where most of us want to go. Yet at the same time, these episodes repeatedly return to the ways in which the Soprano clan, in its desperate, sometimes twisted and sometimes touching way, seeks to embrace family values.
  18. Chicago Sun-Times
    Reviewed by: Doug Elfman
    75
    This is the best the drama has been in some time.
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User Reviews

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User Score
8.2 out of 10

Universal acclaim- based on 135 Ratings

User score distribution:
  1. Positive: 56 out of 75
  2. Mixed: 5 out of 75
  3. Negative: 14 out of 75
  1. JackM.
    10
    There are TV dramas. And then there's The Sopranos.
  2. JohanneS
    3
    For so long my family has been in tuned with the Soprano. We loved the show but the ending was a great disapointment. People are saying that there were 3 endings predone. The one that was chosen to end the show was not a good choice. I and my family was so frustrated. We lived and arranged our lives around this show and the last episode was a cop out.Was very disapointed. What happens with Pauly Walnuts? What happens with Sil? What happens with the soprano family.? I know that you want us to end it, which is a cop out. It should have been completed instead of the ending you showed. Too many loose ends. Thios is my opinion.… Full Review »
  3. EdmundK
    0
    First, it's NOT the best or most important show on television, The Wire is. It is a brilliant show, but season six part is a ridiculous letdown. The thing with Christopher came from nowhere, (spoiler alert), Tony had no more reason to kill him than he did in season one, Chris hadn't been messing up any more than he ever had, and their relationship was as good as ever when they went on their road trip just a few episodes beforehand. The way they "concluded" Meadow's story after not covering her properly for years was ridiculous, bringing Parisi's hitherto unmentioned son into the forray as a last minute attempt to wrap things up with her. The war with New York made even less sense. With Leotardo's constant changes of heart, (I'm out of the game, I'm back in the game! Why? Who knows? Maybe it's because there's nobody else in New York with enough profile to lead against Tony). What makes less sense still is his war hungry consiglere going from backing the absorbtion of New Jersey to betraying his Boss Phil. What's more, why would New York want to reconcile with what they can easily annex? By all accounts, Jersey is little more than a "glorified crew". Agent Harris' U-Turn was laughable too. I can't even begin to fathom an explanation for it...a Sopranos fan told me before that he was being groomed all the way through the show to be an inside man. I've watched all six seasons in the last month and can say with certainty that his turning was a season six part two phenomenon, at a streatch, maybe, a six part one aswell. Even still, apart from some, bizarre friendship, maybe, there's no reason for Harris to work with or for Tony. He doesn't like Phil? OK? He'll risk federal indictment for it. The final two episodes I did like, despite AJs hopscotching from government hating, to wannabe Marine, to depressed, to happy...it was dizzying. Still, I thought the last two episodes were good and am a big fan of the final scene. I didn't like how readily Chase seems to have bought into the 'War on Terror' idea, an issue for most of the show, but particularly for the final season. Although occasionally showing glimmers of enlightenment, (eg: when AJ points out that the government/military allowed Al Qaeda to escape the Tora Bora mountain system, only to consider further plans to bomb Iran), he then plays on US zenophobia by using AJ's viewing of Al Jazeera as a method of showing just how far he has fallen, despite the various accolades it has received for it's independent nature, (including a Webby award, and one from the Index on Censorship). It seems, Chase is willing to use what I assume he is more intelligent thn to believe is true, that an Arab news site, even if it is the only independent, (ie:non-governmentally controlled) one in the Arab world, must, by virtue of being Arab controlled, be extremist, fanatical and fundamentalist. (What'smore, a well-read, politically minded girl like Meadow would know more about Al Jazeera.) I still think even this season was far far better than the vast majority of what's on television. It obviously doesn't deserve a zero, but casual reviewers and critics alike seem keen on bowing down on bended knees before the monolithic creation of David Chase and insist on giving it as many thumbs up as they can muster without any sort of critical analysis, especially in comparison to the earlier seasons' brilliance. I feel that this zero is a necessary counterbalance.… Full Review »
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