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CRITIC SCORE DISTRIBUTION | ||
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Positive:
69
Mixed:
20
Negative:
6
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Critic Reviews
Season 4 Review:
If you can get past the showy physicality, there's real meat here...Unfortunately, the series is frequently its own worst enemy...Every so often, (it feels like every few scenes), the visuals overwhelm the content, and it's clear the producers are intent on using every bit of license that cable networks allow. Story is overwhelmed by effects. It all becomes "deeply superficial," without the ironic twist. [1 Sept 2006, p.F-01]
Season 2 Review:
Skin deep? A tad predictable? Certainly. But Nip/Tuck is nonetheless a TV addiction. We watch, mesmerized by the series' cool surface appeal and the nasty ooze pulsating beneath. We grimace when we should, and when we shouldn't, and at the end we, the Nip/Tuck addicts, want more. [22 June 2004, p.E1]
Season 4 Review:
Murphy's writing has never been especially fond of subtlety - give him a fly to kill, and he'll ask for a brick of C4 - but this version of Nip/Tuck more closely resembles the show the fans fell in love with instead of the one they thought they wanted with The Carver story. [5 Sept 2006, p.27]
Season 4 Review:
Nip/Tuck is aiming for profundity again, as far as that goes. At one point the series catch phrase said something about being more than skin deep, but I'm not sure the scalpel even scratches the fatty layer anymore. Understand that Nip/Tuck was never about adventurous quality or exploring new frontiers in emotional depth. It's just the handsomest, indecently pleasurable soap opera television can crank out, and a reliable supplier of muscular butt shots. [5 Sept 2006, p.E1]
Season 2 Review:
Whatever my squeamishness, however, my real problem with Nip/Tuck isn't with the surgeries but with the writers, who seem determined to remind us that beauty is only skin deep by taking very pretty people and making them do very ugly things...Over and over. [21 June 2004, p.35]
Season 1 Review:
Writer-director Murphy seems willing to do anything to startle viewers and introduce outrageous elements into the script, but as he pushes the envelope up, down, backwards and sideways, the characters become less and less believable. It becomes shock for shock's sake and, in addition, extremely overwrought, with lots of screamed accusations and lamentations.
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