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Critic Reviews
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Its main purpose is to confront the taboo, and whether that means exploring just how far Louie will go into the "experimental" side of masturbation in the season premiere or simply digging into his ugliest prejudices about overweight women, the show can be revelatory.
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This is a long way from a half-hour sitcom about a dysthymic guy comedian and his everyday nuisances. It’s good to see that Louie intends to keep pressing our limits.
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Each [episode] stands on its own as a TV art film, an independent work of short fiction.
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Because Louis C.K. does everything but hand-deliver the series to the network (and maybe he does that, too), it’s entirely his vision. That’s something few hyphenates get a chance to reveal. Here, though, it resonates.
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There’s nothing programmatic about Louie, which idiosyncratically, unevenly explores C.K.’s ideas and instincts without trying to advance an argument. It’s not a joke you’ve heard before. It’s a great shaggy dog story.
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There's still nothing like it on TV, because there aren't too many people out there capable of excavating their brains with this much rigor, wit and insight.
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Louie is television's best half-hour drama. It's also one of the best comedies, when it still wants to be, which isn't all that often.
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Back for its fourth season, Louie continues to be TV’s finest oddity.
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It is entirely its own thing, and it is one of the very best shows on television. We're lucky to have it back.
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Louie season four is as good as ever, and sometimes it’s slightly different.
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Louie remains a small miracle--a shaggy-dog story, hopping with fleas, maybe rescued froma pound, that outdazzles Lassie, Air Bud and the rest. [12 May 2014,]
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Season 4 is just as brilliant as the seasons that preceded it.
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[Louie] was and remains one of the best on TV--in any given week, maybe the best, period.
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His character is brought low often enough, but no comedy soars higher.
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Louie very much remains Louie in the best sense.
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A show that ceased to be something easily identifiable and thus easily understood the very first minute it was on.
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Yes, the show benefits from superb performances, from series regulars, as well as guest stars like Sarah Silverman and Victor Garber. But it's the writing that puts Louie on the highest possible level of comedy. There simply is no better-written comedy on TV today.
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What stuns me still about Louie is the complete unpredictability of it all as all four episodes defy TV comedy’s habit of going from point A to point B by taking viewers on another trip altogether.
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Even if the radiant humor occasionally tends a bit toward the local, as in the brilliant season opening involving members of the DSNY, the point of view is so effortlessly relatable in its humble assertions.
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Embracing with raw, unsettling honesty the random absurdities that regularly befall this urban dweller, Louie brilliantly mines the all-too-human comedy of anxiety, insecurity and disappointment--in himself and others.
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It’s clear that C.K. made good use of the time off to recharge his creative batteries. The season’s third episode, “So Did the Fat Lady,” is his best yet.
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The first four episodes of Season 4 are a little weak downstairs while still remaining at or near the top of the TV comedy class.
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It’s not that the season was bad--it was daring and often beautiful, emphasizing serial storytelling over episodic one-offs, with many indelible moments, especially those involving Louie’s daughters.
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Louie is a comedy that seeks to provide something besides laughter. Louis C.K. will try anything, and not everything works. But it’s the willingness to defy expectations and experiment that makes Louie special.
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While he starts off a little rusty, the second episode proves he’s kept his edge.
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Despite how outlandish some of the scenarios become, they remain relatable.
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The humor is often obscure. The flavor ranges from silly to heartbreaking, crazy to profound. The Emmy-winning show's unpredictability is part of the charm.
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Inevitably, not everything works, including some of the material devoted to Louie’s interactions with his young daughters, as he seeks to balance his standup career and parental duties. More often, though, the show is wonderfully absurd.
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Not much is different for the fourth season of FX’s most popular comedy, except possibly an uptick in the production budget and guests.
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The fourth season’s new episodes feel as fresh--and misanthropic--as ever.
Awards & Rankings
User score distribution:
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Positive: 214 out of 243
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Mixed: 13 out of 243
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Negative: 16 out of 243
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May 6, 2014
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May 7, 2014
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May 7, 2014