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Mary McNamara

Film Critic

United States

Nikita (TV Series) (2010)

"It's difficult to make cold-blooded and calculating people interesting and empathetic, and yet it must be done. Because fight scenes will take you only so far. Especially when there are no big dance numbers"

Los Angeles Times
Ringer (TV Series) (2011)

"Skidding through twists and turns aplenty, the intentionally soapy plot generates a lot of fun froth, but Gellar has a hard time playing one troubled and complicated woman, much less two"

Los Angeles Times
The Event (TV Series) (2010)

"'The Event' seems prepared to make its characters as complex as its storyline, always an event worth attending"

Los Angeles Times
Nip/Tuck (TV Series) (2003)

"Where once 'Nip/Tuck' crackled, it now whines and sighs; where once it shocked, it now plays nice"

Los Angeles Times
Mistresses (TV Series) (2008)

"Of course, because this is a British production, it goes without saying that the acting across the board is terrific, adding a certain sheen to the well-thumbed plots"

Los Angeles Times
Terminator: The Sarah Connor Chronicles (TV Series) (2008)

"Although 'The Sarah Connor Chronicles' has gadgets aplenty, it has what 'Bionic Woman' never quite acquired: a brain and a heart"

Los Angeles Times
Orphan Black (TV Series) (2013)

"Chockablock with clichés, predictable exposition (...) and some fairly whacked-out plot twists. But it doesn't matter because 'Orphan Black' isn't so much about plot as it is performance"

Los Angeles Times
Rogue (TV Series) (2013)

"'Rogue' is pretty terrible, a moody, broody jumble of clichéd characters, pregnant pauses and sex scenes that border on the pornographic"

Los Angeles Times
A Gifted Man (TV Series) (2011)

"The problem is not the supernatural, it's the sanctimony"

Los Angeles Times
Bionic Woman (TV Series) (2007)

''It's not your mother's 'Bionic Woman'. It's much, much better"

Los Angeles Times
Boss (TV Series) (2011)

"It's a solid enough formula, and if the writers have overly epic ambitions, they also have a collective eye for detail"

Los Angeles Times
Call the Midwife (TV Series) (2012)

"You will laugh, you will cry and if it seems a bit treacly, it is"

Los Angeles Times
Rectify (TV Series) (2013)

"It isn't just good TV, it's revelatory TV"

Los Angeles Times
Motive (TV Series) (2013)

"There is really only one reason to watch ABC's Canadian-import place-holder crime drama Motive--Kristin Lehman"

Los Angeles Times
The Goodwin Games (TV Series) (2013)

"Equal parts stupid and sweet, 'The Goodwin Games' does not appear to be built for the long haul"

Los Angeles Times
Mistresses (TV Series) (2013)

"The plot of 'Mistresses' is so absurd and at times offensive that by the end of the first episode it's difficult not to hope for an early demise so these four women can be released to find better show"

Los Angeles Times
Twisted (TV Series) (2013)

"A cynic might think 'Twisted' is a bald attempt to capitalize on the success of 'Pretty Little Liars' while possibly adding a Y chromosome to the mix. The non-cynic might see in Danny yet another metaphor for the alienation and 'otherness' many teens feel"

Los Angeles Times
Siberia (TV Series) (2013)

"The well-trod format of 'Siberia' may be its biggest asset, quickly building the kind of sturdy perimeters that horror so often needs"

Los Angeles Times
Sharknado (TV) (2013)

"You just have to love the crazy monster movies that SyFy delivers on a semi-regular basis -- you know what you're getting. (...) it's easy to pick holes (...) but that's the whole point of movies like this: fabulous in-home commentary."

Los Angeles Times
Lucky 7 (TV Series) (2013)

"It would have been much more promising if creators David Zabel and Jason Richman had chosen subtlety (...) Instead, we have the disparate and desperate characters that always seem to fuel this sort of show."

Los Angeles Times

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