Sioux City Journal's Scores

  • TV
For 132 reviews, this publication has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 4.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 Veep: Season 6
Lowest review score: 30 Crowded: Season 1
Score distribution:
  1. Positive: 84 out of 84
  2. Mixed: 0 out of 84
  3. Negative: 0 out of 84
84 tv reviews
  1. In a sea of formulaic comedies, this stands out as a lifeboat worth clinging to.
  2. Through the limited series’ run, guilt is passed like a basketball. Sexual orientation, economic disparity and other headline-grabbing issues get their turn at attention. Best of all, Ridley works with a repertory company of sorts which gamely assume new roles.
  3. Director Steven Soderbergh walks a tightrope between camp and class and, if you make it that far, pulls it off.
  4. While Getting On might seem confining--and hardly funny--it’s one of the best workplace comedies on television. Like both versions of “The Office,” it embraces stray looks, asides and slyly funny commentary.
  5. Girls was great last year. But this season it just got a little bit better.
  6. The show is smart--smarter than most on network television--and it has life.
  7. While the past few TV seasons have had more than a few robot shows, this one bears watching, largely because it doesn’t insist there’s a “robots are good” or “robots are bad” way of thinking.
  8. Consider how well-crafted they are, you might want to pace yourself and savor every precious moment.
  9. Interestingly, a lot of nothing adds up to a big something.
  10. Silicon Valley isn’t the kind of place you’d like to live (or even work), but it is a fun spot to visit. It makes you happy you never devised a single app in your life
  11. Kimmy gets a little smarter, too, and finds relations outside that circle of new life that embraced her last year.
  12. BrainDead comments better than a Sunday morning pundit, moves faster than a New York to D.C. train and never pauses to filibuster.
  13. By breaking the books into digestible chunks, it goes down smoothly and, yes, makes you want more.
  14. Linney and company are masterful (Basso is a revelation); the final episode's writing is solid.
  15. This isn’t connect-the-dots storytelling. It’s a blast from the past that reminds us when cop shows succeeded because they were built on great writing.
  16. Sure, the show’s live sound was spotty in parts (too many lines were inaudible) but its energy was right where it needed to be, particularly in the big dance numbers.
  17. The new TNT miniseries (it's on just three weeks in December) has plenty of in-your-face drama and heaps of atmosphere.
  18. That they’re both gone without realizing the full impact they made is probably the saddest part of a very fun journey. Bloom and Stevens didn’t miss a beat.
  19. Written by Dan Fogelman, Alan Menken and Glenn Slater, the new musical miniseries on ABC has so many clever bits and witty songs you’ll think someone wrote a sequel to “Spamalot.”
  20. All the Way works because Cranston is so determined to make Johnson relatable. He shows there’s more to the guy than baling wire and spit. Best of all, he isn’t afraid to let him look weak and afraid.
  21. The Bridge doesn't overwhelm with information--as too many cable shows do--but it does shock with revelations that fit nicely into the gameplan. Kruger and Bechir are fine leads, too.
  22. It’s better than an unadvertised special and more fun than a deep discount on Black Friday.
  23. Ominous, creepy and utterly engaging, The Strain is like the perfect drive-in movie.
  24. An absorbing, intelligent new drama that gives the Batman mythology one more layer of depth.
  25. It slips into a world you probably never knew (or cared about) and finds a way to make you utterly invested.
  26. When it achieves its loftier goals, it’s usually quiet. Hunnam, in fact, is best when he doesn’t speak. He can convey plenty with looks, simple gestures. Katey Sagal is potent, too, as Jax’s mom and the queen of the SOA.
  27. It’s looser--and smarter--and it could just make believers out of those who never joined the conversation in the first place.
  28. Like life, it unfolds in quirky ways. Knowing Dunham, its ending will leave questions: Will we get to see what great work comes from her character's experiences? Easily, this could be the "Go Set a Watchman" for something more.
  29. It’s a magnetic production, one that’s filled with precious performances that sparkle.
  30. The joy, though, is listening to Roberts’ Chanel Oberlin bark at her minions and security officer Denise Hemphill (a brilliant Niecy Nash) savor the show’s writing. They’re funny in a fresh, interesting way that fits nicely with Murphy’s social commentary.

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