For 159 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

David Zurawik's Scores

  • TV
Average review score: 67
Highest review score: 100 24: Season 5
Lowest review score: 0 Do Not Disturb: Season 1
Score distribution:
  1. Negative: 22 out of 159
159 tv reviews
    • 87 Metascore
    • 100 David Zurawik
    Ed still believes in the realm of possibility, and perhaps even in magic. And that's part of what makes Ed Stevens such a welcome addition to the prime-time landscape. [7 Oct 2000, p.1E]
    • 79 Metascore
    • 100 David Zurawik
    Dazzling...The West Wing is the one new series you do not want to miss. In fact, you don't even want to show up late for its start at 9 tonight. Walk the dog early, shut off the telephone at 8: 55, bribe the kids if necessary to get them in bed, just be there for the one new series that will remind you how exciting the fall network TV season used to be before the networks lost their way in bottom-line thinking and mega-corp greed. [22 Sept 1999, p.1E]
    • 99 Metascore
    • 100 David Zurawik
    The smartest and funniest sitcom on television. [19 Jul 1995]
    • 87 Metascore
    • 100 David Zurawik
    I have now seen the pilot for Felicity four times. The first two times were just for enjoyment. The last two were reality checks to see if it is really as good as it seemed during the first two viewings. It is...Felicity is not just the best pilot. It is the one joy of the new network season. [29 Sept 1998, p.1E]
    • 97 Metascore
    • 100 David Zurawik
    In its first season, I thought it was the best cop drama on television. Last year, I thought it was the best drama - period. What's left, the best series in American television? It almost goes without saying. [3 Mar 2001]
    • 96 Metascore
    • 100 David Zurawik
    Mozart wrote finales for his operas by focusing on a theme sounded in the opening notes, then expanding and building upon it through repetition and the amplification of other voices for a glorious ending. So is David Chase, creator and executive producer of The Sopranos, writing the finale for this landmark TV series - and if this isn't art, then neither is Mozart.
    • 86 Metascore
    • 100 David Zurawik
    This is television taking us on a journey into shared memory and the national past. This is television near the top of its game as the Great American Storyteller telling us who we were at one of our finest hours and, so, reminding us of what can be. [9 Sept 2001, p.2E]
    • 74 Metascore
    • 100 David Zurawik
    So daring, richly multi-dimensional and culturally provocative that it's almost anti-television. [3 June 2001, p.2F]
    • 76 Metascore
    • 100 David Zurawik
    Alias is one of the most non-linear and illogical pilots I have ever seen. It's also one of the most exciting television rides I've had in years. I love its energy. The breathless, roller-coaster montage of movement, color, action and emotion never quits. [29 Sept 2001, p.1D]
    • 89 Metascore
    • 100 David Zurawik
    Case closed: 24 is the best drama on network TV.
    • 92 Metascore
    • 100 David Zurawik
    I love The Shield so much, I spent the two weeks since I saw it wondering if I could bring myself to actually say in print what I thought after screening the first three episodes: This is better than "Homicide: Life on the Street." If you've been reading The Sun for any length of time, you know I face East, bow my head and light incense in an act of worship at the mere mention of that late, great, ratings-challenged NBC drama. [12 Mar 2002, p.1E]
    • 95 Metascore
    • 100 David Zurawik
    There is little precedence within television history for the rich portrayal of working class life as depicted by The Wire. [1 Jun 2003]
    • 98 Metascore
    • 100 David Zurawik
    It's better than ever. [David] Simon has always been good, but he seems to have truly matured this year as both a writer ... and executive producer. No one is making richer television drama than he is right now. [18 Sep 2004]
    • 89 Metascore
    • 100 David Zurawik
    While there is no shortage of narrative theorists who talk about detective fiction as being most successful when it is like a puzzle, no one on network television has ever managed to create a series that could make viewers feel as if they were actually putting together a puzzle piece by piece as they watched. Perhaps the nearest anyone came was the writing team of Richard Levinson and William Link with their pilot for Peter Falk's Columbo, but Boomtown is light years beyond what Levinson and Link were doing in the 1970s. [28 Sept 2002, p.1D]
    • 92 Metascore
    • 100 David Zurawik
    The final scene is a moment of pure TV story-telling mastery straight through to the sounding of "Tobacco Road." And you can feel the surge of energy it releases in Draper's psyche--and the series--practically radiating off the screen.
    • 87 Metascore
    • 100 David Zurawik
    I'm not saying "Treme" is necessarily in a league with "The Sopranos," "The Civil War" or even "Homicide" at its best. But the pilot moved me as those productions did--and in the world of television, that is something special.
    • 83 Metascore
    • 100 David Zurawik
    The power of the writing and performances are such that after just 30 minutes, you feel as if you know each of these characters intimately--and you find yourself already caring about them. And you wonder what role they will play in the troubled life and journey of Dr. Paul Weston.
    • 75 Metascore
    • 90 David Zurawik
    In the pilot, at least, Whedon manages to capture some of the same "Buffy" sensibility -- a rare combination of sexual energy, irony, intelligence, hot bodies, cool moves, action, menace and comic relief. The challenge is to sustain that tricky tone for a full season. [5 Oct 1999, p.1E]
    • 81 Metascore
    • 90 David Zurawik
    One of the most pleasant surprises of the new season. [5 Oct 2000, p.1E]
    • 77 Metascore
    • 90 David Zurawik
    Part science-fiction, part teen soap opera, part Shakespearean love story, with a healthy dose of "The Fugitive" thrown in, Roswell has more than enough to make a believer out of me. It might not be as good as "The West Wing" or "Once and Again," but it is my favorite new series of the fall season. [6 Oct 1999, p.1E]
    • 79 Metascore
    • 90 David Zurawik
    The humor is dark, and the editing is fast-paced and often non-linear. The visual sensibility heightens the surreal quality of life and death with young Dr. Dorian as he careens like a bumper-car through his shift. [2 Oct 2001, p.1E]
    • 88 Metascore
    • 90 David Zurawik
    It's Sutherland's performance that so elevates the hour. This is a feature film star at work, and his performance demonstrates why the folks who fill the big screen make much more money than most television stars. [6 Nov 2001]
    • 72 Metascore
    • 90 David Zurawik
    Despite all the artifice and unreasonable expectations it's selling, "The Real World" is one superb television series. [28 Jun 1995]
    • 78 Metascore
    • 90 David Zurawik
    A well-crafted opening to a television drama is like an overture to a musical. To succeed, it must, however fleetingly, sound the major themes and melody of the piece, as well as suggesting its continuing sensibility. Tonight's opening is a great one. [2 June 2002, p.5E]
    • 70 Metascore
    • 90 David Zurawik
    I like the way this series cuts to the moral bone and ties so much of the evil men and women do to our culture's excessive materialism, commercialism and obsession with appearances. [22 July 2003, p.1E]
    • 87 Metascore
    • 90 David Zurawik
    Abrams brilliantly exploits several genres simultaneously - including reality TV with all that viewers have come to learn (or think they have come to learn) about group dynamics by watching CBS' Survivor the past four years. What's most impressive is the way that Abrams - through the skillful construction of character via credible dialogue and camera work that makes one feel almost situated within the group - makes Lost feel as if it is the real thing. [22 Sept 2004,p. 1E]
    • 58 Metascore
    • 90 David Zurawik
    The Comeback has its flaws. But this is a moment well beyond the depth of most television comedies. This is the stuff of which plays by David Mamet and Arthur Miller have been writ. This is a sitcom to which some attention should be paid. [4 June 2005, p.1D]
    • 88 Metascore
    • 90 David Zurawik
    Rock deals with a harsher teen reality than Cosby did in his Fat Albert days, but he is hitting the same universal notes of conflict, love, weirdness and strength found in close-knit families.
    • 81 Metascore
    • 90 David Zurawik
    The writing is daring, the editing dazzling and bold... this is prime-time storytelling that pops.
    • 81 Metascore
    • 90 David Zurawik
    Elizabeth I features two of the finest actors [Mirren and Irons] in film and television inspiring each other to some of the most spectacular work they have ever done.