Mary McNamara

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For 594 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 6.2 points lower than other critics. (0-100 point scale)

Mary McNamara's Scores

Average review score: 62
Highest review score: 100 Behind the Candelabra
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Negative: 68 out of 594
594 tv reviews
    • 74 Metascore
    • 100 Mary McNamara
    It isn’t just great television, it’s vivid, thought-provoking television that entertains even as it examines the darker side of entertainment.
    • 54 Metascore
    • 60 Mary McNamara
    The characters take forever to make narrative connections that seem immediately obvious and no one seems remotely curious about what exactly is happening to the world. Yet even as her hours-long insistence that she is nothing “special” grows tedious, Vanessa is delightfully cranky.
    • 38 Metascore
    • 30 Mary McNamara
    The action is so predictable it feels, at times, like a joke. ... The reboot adds nothing to the archetype, which makes it less nostalgic than archaic.
    • 32 Metascore
    • 20 Mary McNamara
    A show that halfheartedly duplicates the pacing and attitude of previous hits without bothering to create compelling characters or interesting plots.
    • 69 Metascore
    • 80 Mary McNamara
    This being a broadcast premiere, Ginny is forced through many predictable expositional and emotional hoops, and Bunbury makes that exercise seem effortless. Though she is the center of the story, Ginny remains something of a cipher.
    • 71 Metascore
    • 90 Mary McNamara
    The first hour’s masterful swings among moments large and small, mind-boggling and utterly familiar, make it easy to believe that Designated Survivor is just getting started as well.
    • 79 Metascore
    • 80 Mary McNamara
    Created by Scott Silveri, whose brother has cerebral palsy, the pilot crackles with one-liner wit and hilarious monologues, many, though not all, delivered by Maya, who all but vibrates with her tangled mess of take-no-prisoner standards and eternal optimism.
    • 76 Metascore
    • 80 Mary McNamara
    It’s a lovely and lyrical premiere, studded with everyday detail, from the realities of soccer parents to the long-term effects of the Challenger disaster. If creator Dan Fogelman (“Crazy Stupid Love”) seems addicted to turning-point sentiment, the performances and the pacing keep each story from getting stuck in the stickiness.
    • 88 Metascore
    • 90 Mary McNamara
    Once set in play, each of these [belated-coming-of-age tropes] devices gets turned inside out--quickly (each episode is 30 minutes) and surreptitiously (the action, like Fleabag’s life, jumps from scene to scene), but with a clear eye for truth that often becomes, like all good comedy, quite devastating.
    • 72 Metascore
    • 80 Mary McNamara
    [A] small and finely wrought film.
    • 77 Metascore
    • 80 Mary McNamara
    It is not a perfect series; episodes stall here and there, or swerve into unnecessary flights of fantasy or absurd narrative developments, but then a moment of quietly huge revelation blows the story onto a whole other plane.
    • 75 Metascore
    • 70 Mary McNamara
    The pacing seems, at times, at odds with the narrative’s overabundance of conflict. Universally fine performances keep the Job-like series of events from overwhelming things, but DuVernay is so focused on her main characters that the secondary narratives, including lovely scenes between Ernest’s sister Violet (Tina Lifford) and her husband, Hollywood (Omar J. Dorsey), often feel like afterthoughts. ... Even with these distractions, Queen Sugar is an undeniably beautiful series.
    • 76 Metascore
    • 70 Mary McNamara
    Not a new story, but in Gomorrah, familiarity breeds relief rather than contempt.
    • 76 Metascore
    • 80 Mary McNamara
    For the most part, and in absolute defiance of the odds, Stranger Things honors its source material in the best way possible: By telling a sweet ’n’ scary story in which monsters are real but so are the transformative powers of love and fealty.
    • 90 Metascore
    • 100 Mary McNamara
    It sings. Mournfully, triumphantly, poignantly, of failed dreams and second chances; of the simple mistakes that accumulate into tragedy, of the cold calculations required by redemption. But mostly it sings of itself, an anthem to television’s unique power to turn a series of understated performances into sustained magnificence.
    • 39 Metascore
    • 20 Mary McNamara
    The result is a disjointed, absurd and only mildly frightening story that, three hours in, is still flailing more frantically than a teen falling out of a canoe into a lake full of corpses.
    • 47 Metascore
    • 40 Mary McNamara
    If Roadies spent half as much time showing us what roadies actually do as it wastes on framing gazes of tortured longing, it would be a very different, which is to say much better, show. Instead viewers get tossed a few slivers of meat--Phil tearing up whenever he mentions Ronnie Van Zant, Keisha Castle-Hughes’ engineer setting up for the “song of the day”--and a whole lot of corn.
    • 51 Metascore
    • 30 Mary McNamara
    The debut of Any Given Wednesday was an odd and painful thing to watch.
    • 59 Metascore
    • 80 Mary McNamara
    For the most part, the success of the series rests almost entirely on the revelation of its main character. Fortunately, Braga appears to be all USA could have hoped for, and more.
    • 51 Metascore
    • 40 Mary McNamara
    This American Gothic remains strictly paint-by-numbers.
    • 68 Metascore
    • 70 Mary McNamara
    With a talented ensemble and exquisite location work, it’s a solid night-time soap with top notes of consciousness-raising and the added bonus of returning Winfrey to the flat screen (albeit in a co-starring role).
    • 37 Metascore
    • 40 Mary McNamara
    The cast is solid and more comically effective than the material they are given, but the Russells seem more like what they are--a cast--than what they should be--a family.
    • tbd Metascore
    • 70 Mary McNamara
    [Reedus] is an engaged and engaging guide. Sure, there’s a lot of “let’s do it” and “that’s amazing” or “this is so beautiful,” and not every side excursion is as interesting as it may have seemed in the editing room (doughnuts in the desert are not as much fun to watch as they are to do). But the show admirably swings for the poetic democracy of the most famous road-trip chronicles and it succeeds more often than you might think it would.
    • 52 Metascore
    • 50 Mary McNamara
    Aided by Zane and Anthony Head, both of whom are clearly having a great time, the twists may allow viewers to overlook the clunky dialogue and nonsensical plotting. And there’s something admirable about setting such a say-cheese-please murder mystery in the backyard of “Sherlock,” “Luther” and other high-minded British detective shows.
    • 46 Metascore
    • 30 Mary McNamara
    [Feed the Beast] is such a mess that you have to wonder what on Earth is going on at AMC (besides the whole if-it’s-a-white-guy-who-bleeds-it-leads thing).
    • 70 Metascore
    • 50 Mary McNamara
    Kyle gives Outcast dimension, but Anderson makes it vital. Unfortunately, the crowded script slows them down. Too often, Outcast, like it’s demons, depends on the terrifying seductions of possession to hold our attention.
    • 84 Metascore
    • 100 Mary McNamara
    It is, it really is, just as magnificent, powerful and enthralling as you would imagine.
    • 83 Metascore
    • 80 Mary McNamara
    Though sleeker and more graphically brutal than its ancestor, Roots remains a celebration of resistance through survival.
    • 78 Metascore
    • 80 Mary McNamara
    Held together almost entirely by Cranston’s performance, All the Way seems at times intentionally counter-intuitive; so much of the story’s advancement depends on deals that no one feels really great about that it’s hard to find the kind of catharsis many expect from these sorts of films.
    • 96 Metascore
    • 100 Mary McNamara
    Historically meticulous, thematically compelling and deeply human, O.J.: Made in America is a masterwork of scholarship, journalism and cinematic art.

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