Season #: 3, 2, 1
User Score
6.9

Generally favorable reviews- based on 53 Ratings

User score distribution:
  1. Positive: 38 out of 53
  2. Negative: 10 out of 53
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User Reviews

  1. Feb 14, 2018
    6
    After losing his job, ex-con and former activist, Hap Collins agrees to help his ex-wife finding a car full of stolen money from the bottom of a river in the Deep South. With the help of his buddy Leonard Pine, a Vietnam War vet with a bad temper, they set about their task. Of course things don’t quite go according to plan.

    The writing isn’t always great, and some of the characters are
    After losing his job, ex-con and former activist, Hap Collins agrees to help his ex-wife finding a car full of stolen money from the bottom of a river in the Deep South. With the help of his buddy Leonard Pine, a Vietnam War vet with a bad temper, they set about their task. Of course things don’t quite go according to plan.

    The writing isn’t always great, and some of the characters are a little “cartoonish”, but the chemistry between James Purefo and the always watchable Micheal K. Williams as the lead duo do save things somewhat and the rest of the cast (including Christina Hendricks of Mad Men fame) make the most of the script to ensure everything remains watchable throughout.
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Metascore
73

Generally favorable reviews - based on 19 Critic Reviews

Critic score distribution:
  1. Positive: 17 out of 19
  2. Negative: 0 out of 19
  1. Reviewed by: Nancy DeWolf Smith
    Mar 4, 2016
    80
    Inconvenient as that is, and fear takes many forms here, the first three episodes of Hap and Leonard sucked me in almost as easily as Trudy pulls Hap.
  2. Reviewed by: Emily VanDerWerff
    Mar 2, 2016
    80
    The first episode is packed with juicy moments, in terms of both character and unexpected plot twists. By the end of the pilot, the show's combination of thematic thoughtfulness, buddy criminal character moments, and shocking blood spatter are very much in place.
  3. 80
    There are times when it’s a little too relaxed for its own good, and it has trouble reconciling its wit and sexiness with bursts of harrowing violence that feel imported from a Quentin Tarantino movie (or a film by one of Tarantino’s imitators). But the sum total is so beguiling and unusual--for television as a whole, if not for Sundance, which specializes in this kind of storytelling--that it’s hard not to become entranced by it.