Reception
Ginia Bellafante of New York Times said "One of the more humanizing adventures in science fiction to arrive in quite a while, the series is taut, haunting, relevant and an exploration of adolescent exceptionalism rendered without the cheerleading uniforms and parody of Heroes." Bellafante described Lena Headey as "all anxious muscle" and wrote "John, played by Thomas Dekker, complements Sarah's intensity with a quiet anguish." Bellafante described the episode as "a fantasy of technophobic paranoia, but it is also a metaphor for mad, crazy blood love, for motherhood not merely as an honorable career but also as salvation. Keeping John safe has required Sarah to learn four languages, work at 23 jobs, assume nine aliases and submit to years in a mental hospital."
Mark A. Perigard of the Boston Herald wrote "In the dregs of the writers strike, with most dramas sputtering, the new Fox series (debuting tonight...) is a megawatt jolt to the heart, crackling with exhilarating stunts, plot swerves and, most unexpectedly, a touch of humanity. It's everything Bionic Woman should have been." Perigard wrote, "The first two episodes continuing the big-budget Terminator blockbusters present a richly reimagined life for Sarah Connor and her teenaged son John, destined one day to lead humanity's resistance fighters against relentless cybernetic enemies." Perigard said, "Fortunately for John, his future self sent back another cybernetic protector in the form of a beautiful teenager named Cameron (Summer Glau, Firefly)." Perigard said, "Director David Nutter has a firm grasp on the electrifying action sequences but displays a deft touch in the smaller moments", said " longing for a father figure is palpable...", and said "Headey won't make anyone forget Linda Hamilton's memorable turn in the second film and her voice-overs are unconvincing. Give her time to grow into the role."
Daniel Fienberg of Zap2it.com wrote that even without the writer's strike there was going to be a lot of pressure on the show and said "it was still going to be a costly, high-risk, big-name gambit." Fienberg wrote "My immediate reaction, after watching the first two episodes of Sarah Connor, is that the series is by no means a disaster." Fienberg said "the transition to the small screen has been as smooth as one could hope, particularly in terms of the inevitably diminished production values." Fienberg said the first two episodes lacked "the sort of single-minded purpose that defined the two James Cameron films" but said they were "neither fish nor fowl." Fienberg said the end of the pilot took "slightly ludicrous steps...to erase nearly all of the possibilities of the third movie." Fienberg said, "Ideally, the show becomes less a series of weekly chases and escapes from brutal robot slaughter and more a chronicle of how a single mother and her son attempt to live their lives when imminent death is like another member of the family." Fienberg said the show "isn't really of blockbuster scope" and "no more ambitious than, say, last spring's prematurely cancelled Drive." Fienberg said "Headey's in a tough place" due to Linda Hamilton's performance as Sarah Connor, but said "The stand-out in early episodes is Glau, showcasing the same sort of deceptively passive deadpan mixed with physical grace that fans of Firefly came to love."
Read more about this topic: Pilot (Terminator: The Sarah Connor Chronicles)
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
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“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“To aim to convert a man by miracles is a profanation of the soul. A true conversion, a true Christ, is now, as always, to be made by the reception of beautiful sentiments.”
—Ralph Waldo Emerson (1803–1882)