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Critic Reviews
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Sleepy Hollow works because it approaches everything with a relatively straight face, yet never seems to be taking itself too seriously.
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The first new network show of fall is a supernatural adventure that manages to drop a few good scares.
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Nothing scary here, but Hollow is fun enough, and promising enough, too.
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It’s fun, it’s entertaining, it’s got some scares and some action and plenty of secrets to unveil.
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Sleepy Hollow is great fun and gorgeous to look at.... The mythology of Sleepy Hollow is richly complex.
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Even amid the excess exposition, you'll be able to spot a few enjoyable jolts, some clever, throwaway culture-shock moments and the charms of the show's two stars. Combined, they give the show more than enough room to grow into an entertaining weekly adventure.
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Suspend disbelief, not to mention your knowledge of Washington Irving's classic tale, because the illogical hodgepodge of myth premiering Monday night is great fun.
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Sleepy Hollow is is fizzy if formulaic fright-night fun. [20/27 Sep 2013, p.141]
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[Lieutenant Abbie Mills (Nicole Beharie) and Ichabod Crane's (Tom Mison)] sharp banter, coupled with campy scenes of the horseman riding around town severing peoples' heads, makes for a mutually reinforcing combination of amusing and absurd TV.
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For reasons known only to its creators, the pilot for Sleepy Hollow seems determined to jam into one hour what could have easily, and more enjoyably, been spun out over several.
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It's witty but never overly pleased with itself, and even when it's predictable, it's predictable with a wink that says, "Come on--you know you needed that to happen."
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Sleepy Hollow is quite fun, if you're willing to suspend all disbelief and go for the ride.
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In its pilot, it achieved its modest goals without leaning too far into pompousness (as is the case with "Almost Human") or slicing off too much ham (hello "The Blacklist").
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Plenty of places for this series to take its engaging leads, one of the odder crime-fighting pairs on TV, doing battle against one of TV’s creepier-looking if expressionless bad guys.
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Cultural commentary mixed with the mystery, along with lavish production values, gives Irving’s tale a clever twist. The hour is trying to cover a lot of bases, but it may find its focus.
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It is aware of just how ridiculous it is, and it tries to cram in as many wacky ideas as can fit into the opening hour without falling into complete camp.
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Mison and Beharie work well together as Ichabod and Abbie.... On the down side, Orlando Jones so far is stuck in the muck of a prototypically officious police captain named Frank Irving.... Whatever befalls its denizens, Sleepy Hollow gets off to a better and more “believable” start than anticipated.
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Sleepy Hollow has an interesting premise and some terrific CGI effects (re: the Headless Horseman), but I didn’t buy into the show’s mystical/mythological/sci-fi overtones, a mishmash of history, witchcraft and muddled Biblical prophesy that left me confused instead of intrigued.
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Sleepy Hollow got my attention, but I’m not yet sure if it’s good, ridiculous, good but ridiculous, or good because it’s ridiculous.
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Somehow, this ludicrous premise and uneven plot elements cohere into a fast-moving, exciting hour.
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Success is the exception for shows that try to weave mythologies this complex, and Sleepy Hollow falls back early on predictable conventions like having Abbie’s deceased ex-boss leave copious files on mysteries he could never solve.
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It’s a program that bounces around tonally and narratively, never feeling like its head is in the right place to know where it wants to go.
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You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
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[A] lavishly entertaining but hopelessly convoluted new supernatural thriller.
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It’s all done with a cold efficiency and a gloomy, disinterested tone.
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While the show is certainly handsomely done, the fish-out-of-water dialogue already feels a little green around the gills.
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By the end, Sleepy Hollow seems less like a show than a garage sale of used story pitches.
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The mythology comes on hard and heavy in the first hour, but like ABC's blink-and-you-missed-it spring thriller "Zero Hour," it's ponderous yet silly.
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This could be a watershed moment in TV's long and inglorious history of idiocy, a drama that unintentionally almost matches Arrested Development for laughs.
Awards & Rankings
User score distribution:
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Positive: 196 out of 249
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Mixed: 35 out of 249
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Negative: 18 out of 249
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Sep 18, 2013
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Sep 17, 2013
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Sep 16, 2013