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Critic Reviews
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[A] strongly acted thriller, which seems to add another intense dimension weekly.
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A refreshingly taut and well-executed futuristic sci-fi series about a group of 100 jailed juvenile delinquents who are banished from an orbiting space-station colony and sent to live on Earth--97 years after a nuclear apocalypse.
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The 100 is better than it has to be, a little more exciting and surprising and intense.
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What is surprising is that the series, an adaptation of the Kass Morgan novel, is well conceived, cleverly plotted, and quite exciting.
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The 100 offers up a well-conceived society on the Ark that brims with conflict and moral dilemmas that’s paired with the unexpected discoveries of frontier exploration on Earth.
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This one has promise because it’s not formulaic. I have no idea where it’s headed, which is kind of nice for a change.
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Rothenberg and company are sneaking in a surprisingly sophisticated look at a world filled with want.
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The 100 ends up being sci-fi fun for all ages--with a spine tingle or two also within these realms of possibilities.
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It gets better, digs deeper and reaches farther than anyone might have predicted.
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It's some solid CW cheese. [21 Mar 2014, p.58]
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At first, it seems like your typical show from the CW, overstuffed with bushy-haired teens in a sci-fi situation. But after a while the series, based on a book by Kass Morgan, reveals influences ranging from “Lord of the Flies” to “Battlestar Galactica,” with more than a few hints of “The Hunger Games,” “Lost” and “1984” tossed in.
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The 100 is imaginative, surprising and fun--Lost for kids. [24 Mar 2014, p.39]
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A high-concept guilty pleasure that comes as a bit of a creative relief after a dreary season of derivative spin-offs, reboots and retreads.
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Yes, it's a CW series, but one that poses enough lifeboat-ethics issues to keep a freshman philosophy class busy for months.
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Even with some shaky performances, there’s enough happening--including a few genuine surprises in the first half-dozen episodes--to sustain interest.
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The good news is this modest show already has a number of things in its favor: Its pace is bracing, the choices are difficult and the danger the characters face is real.
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It makes for lively drama, with sharply defined conflicts and characters who aren’t always all good or all evil. Naturally, there are also interludes for romance and mean girls and obnoxious hot-body guys.
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Cusick has done this role before so often, he might even be mixing and matching scripts. Washington looks so bored, he might nod off. The 100? If we’re marking days on a calendar, that’s being optimistic.
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As The 100 goes along, you can feel it becoming more and more the show that Rothenberg and his writers want it to be, but it sure starts off at a great distance from from that destination. And even as it gets closer, there are still too many moments of mind-numbing illogic.
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If you don’t think too much about details and leaps in logic, The 100 moves forward swiftly. But the characters seem stuck in place, with one foot placed firmly in central casting. They’re bland, no ish about it.
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A predictable mix of violence, sex and sentimentalism.
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The character complexities, special effects and attention to detail position The 100 well on the CW food chain.
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The fate of the kids on the ground is closely bound with the fate of the people in orbit, and vice versa. But it is hard to care about the people in orbit, as seriously as you're asked to take their predicaments and sacrifices. And it is not much easier to care about the people on Earth.
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The 100 has a lot of interesting things to play with in terms of its narrative and world-building, but it chooses to gloss over them.
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I just can’t shake the feeling that I’ve seen it all before--and that The 100 is another piece of The CW’s generic series puzzle.
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It's another faulty futuristic fantasy drama patched together with used parts and overused designs.
Awards & Rankings
User score distribution:
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Positive: 437 out of 652
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Mixed: 65 out of 652
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Negative: 150 out of 652
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Mar 19, 2014
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May 9, 2014
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Mar 24, 2014