- Network: NBC
- Series Premiere Date: Mar 16, 2014
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Critic Reviews
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Crisis ultimately gets its priorities straight by giving viewers a reason to care--about the characters, outcome and mystery.
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The pilot offers a number of interesting swerves, and Anderson and Mulroney are always watchable, but Crisis shares sustainability issues with CBS' "Hostages."
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Exciting and twisty, Crisis is the show that CBS thought it had at the start of the season with Hostages.
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The pilot is terrific, and it was directed by Phillip Noyce, whose credits include the Harrison Ford movie “Clear and Present Danger” and the pilot of ABC’s “Revenge.”
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Crisis takes kids in jeopardy, class conflict and adolescent (and national) insecurity and stirs them into a surprisingly effective thriller.
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The story itself relies on a series of coincidences that may be improbable, but the character responses feel authentic.
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With its frantic pacing, vicious masterminds and valiant law enforcement agents, Crisis might remind you of Fox’s “24.” Not the best seasons of “24,” but still. There’s a lot to be said for a show that works up a sweat trying to surprise you.
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Crisis may not be great, but it works. [24 Mar 2014, p.35]
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The main characters are well-drawn and well-played, particularly by Mulroney, Taylor, Gross and (as you'd expect) Anderson, and the structure already seems reliably sturdy.
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Based on Sunday's pilot episode, Crisis has the potential to be one of the spring season's most addictive network offerings. It's intense and suspenseful.
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Based on the first two episodes available for screening, Crisis is more promising than other recent network attempts to create a series that tells an ongoing story.
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Taylor and Gross balance just the right amount of competence and bewilderment, while Mulroney emotes the pain of a rejected father. The pilot is all but stolen by Joshua Erenberg, who plays the kid Finley rescues.
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It's moving so fast that the missteps never turn into a full-fledged fall. More than compensating, Anderson and Mulroney deliver big time, while Gross and Erenberg make a surprisingly winning odd-couple team. If there is a weak link in this cast, it's probably Taylor, who has yet to convince us she's a savvy and experienced FBI agent.
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For now, it’s an intriguing enough premise to warrant continued attention.
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The mood music in Crisis can be over-wrought at times--and downright over-bearing when a male vocalist breaks into “Sometimes I Feel Like a Motherless Child.” But the first two hours are nicely paced and eventful, with the ad hoc partnership between Marcus and an initially resistant Susie gaining traction as the stakes increase.
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The first chapters are compelling enough, but after Hostages, it's hard not to be skeptical when we've just seen how quickly this sort of heightened situation can lapse into overheated nonsense.
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[So far] the show has the elements of a gripping yarn.... But there was a vibe of something tedious when one of the kidnappers announced: "Today the bug is king"--and if Crisis really goes there, some of us will be tempted to run away.
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It’s gloriously stupid, but not always aware that’s what it’s doing, which leaves it in a messy middle ground--too bad to be good, too good to be bad.
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There's some interesting cheek to the pilot, particularly the villain, but rote directing and too-serious acting muffle the fun. [14 Mar 2014]
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A little over the top--well, actually, a lot over the top--the pilot is filled with one eye-rolling surprise after another.
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The show does a good job of setting up a lot of conflict in a very short time, but I'd be more invested if I got to know the characters more — and if they had more dimension..... It felt too contrived.
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Crisis is just the bowl of gravy. It tastes okay on its own, I guess, but you can't really make a meal out of it.
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It's marginally more engrossing/less ridiculous in its pilot than CBS's fall flop, "Hostages."
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Crisis needs to lean more Blacklist: If you’re going to be dumb, at least be a good time about it.
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Crisis is efficient without really ever becoming enticing.
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Do cliches abound? Do they ever. But Crisis is moderately entertaining thanks to well-paced direction, some competent character development, and the presence of Gillian Anderson in the pivotal role as a take-no-prisoners corporate CEO.
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The dialogue is flat, the plotting is boring, the characters are predictable, and the whole show only serves to remind one what well-paced programs like the net's "The Blacklist" or the premiere of "Believe" do well.
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Crisis comes out of the chute as flat as any recent thriller on network television--actually more so. There’s barely an ounce of believability in it. The casting seems woeful and the acting isn’t going to get you to the second hour.
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You don’t have to take Crisis too seriously; it will happily do that for you, spreading its pompous misery evenly among a cast large enough to fill at least three or four mediocre TV shows, if you count all the teenagers.
Awards & Rankings
User score distribution:
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Positive: 39 out of 59
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Mixed: 10 out of 59
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Negative: 10 out of 59
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Mar 21, 2014
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Mar 17, 2014
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Jun 22, 2014