Sioux City Journal's Scores

  • TV
For 79 reviews, this publication has graded:
  • 58% higher than the average critic
  • 7% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 5.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 Louie: Season 4
Lowest review score: 40 Peter Pan Live!
Score distribution:
  1. Positive: 48 out of 48
  2. Mixed: 0 out of 48
  3. Negative: 0 out of 48
48 tv reviews
  1. Because Louis C.K. does everything but hand-deliver the series to the network (and maybe he does that, too), it’s entirely his vision. That’s something few hyphenates get a chance to reveal. Here, though, it resonates.
  2. Consider how well-crafted they are, you might want to pace yourself and savor every precious moment.
  3. Writer Jane Anderson, cherry-picked four chapters and crafted them into a telling character study that covers 25 years of story.
  4. It’s a fascinating documentary that’ll make you want to devour it all, no matter where you start.
  5. Girls was great last year. But this season it just got a little bit better.
  6. At times, True Detective just seems like an overlong episode of a standard television series. But the flashbacks and flash forwards give it heft and let Fukunaga push the actors.
  7. Tossing Meyer into the election fray was a great idea, particularly since it gets away from the well-worn path she strutted last season. Now, out of her comfort zone, she’s bobbing and weaving with the best of them.
  8. Tyson's so perfectly cast, perfectly directed and perfected nuanced, Bountiful overflows with the kind of goodness we rarely find in TV movies.
  9. A compelling look at the 1963 March on Washington for civil rights.
  10. It’s violent in ways you wouldn’t think; daring in areas you couldn’t imagine. It’s not your mother’s Fargo. But it does have the characteristics you’ve come to cherish.
  11. Like Behind the Candelabra, its action isn’t measured in car chases and explosions. It’s charted in the lives it touches.
  12. Reiner keeps the interest level high but The Affair requires much more buy-in than the pilot cares to offer.
  13. It slips into a world you probably never knew (or cared about) and finds a way to make you utterly invested.
  14. Sunday’s premiere provides the border and key pieces to the oh-so-attractive world that is Mad Men.
  15. Silicon Valley is good. But “Silicon Valley 2.0” is going to be even better.
  16. Although it’s two hours long, Going Clear speeds by.... Mesmerizing? If you’ve had even a passing interest in Scientology, Going Clear will fascinate in ways you never thought possible.
  17. Director Steven Soderbergh walks a tightrope between camp and class and, if you make it that far, pulls it off.
  18. Kohen, basing her series on Piper Kerman's memoir, immediately gives us characters worth watching.... Orange is the New Black is TV that'll have you talking for days.
  19. While Kemper’s mood can grate, she’s working from a very logical base. There’s the Elizabeth Smart innocence that suggests this does have legs. How long they can maintain the guise is anyone’s guess.
  20. 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.
  21. Interestingly, a lot of nothing adds up to a big something.
  22. The new season has plenty of surprises (couples aren’t who you think they are), a reality check for Marnie and a nice showcase for Rannells.
  23. Downton Abbey seems just as fresh as it did five years ago.
  24. The show is smart--smarter than most on network television--and it has life.
  25. [Biderman’s writing and Schreiber’s acting are] a one-two punch that haven’t scored a knockout in the first round, but there’s still time.
  26. This is a very quirky, specific world that could repel the very people who might love it. It's a slow go but if you're not in a hurry, it might be worth dropping by.
  27. 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.
  28. In Hollywood, it may be business as usual. But in Episodes, it’s fodder for great comedy.
  29. Linney and company are masterful (Basso is a revelation); the final episode's writing is solid.
  30. 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.
  31. In a sea of formulaic comedies, this stands out as a lifeboat worth clinging to.
  32. It's probably one of the most original ideas television has produced in years. The reason? It's so quirky, it zags where others would zig. It also has that loopy sensibility that comes from a vivid imagination.
  33. While newcomers may wonder why so much is made of so little, they can’t deny the delicious one-liners Fellowes has written. Coupled with a driving score, Downton Abbey moves--in ways you never thought possible. It's good to see it back.
  34. Rather than produce a compelling documentary, they felt the need to insert themselves in a story that didn't require it.
  35. Smart, funny and utterly intriguing, it sucks us in better than any procedural with an four-letter acronym.
  36. Ominous, creepy and utterly engaging, The Strain is like the perfect drive-in movie.
  37. An absorbing, intelligent new drama that gives the Batman mythology one more layer of depth.
  38. The concept is interesting, but it would have been more fun to show Valerie in a less high-stakes setting.
  39. Interestingly, Dexter settled into a groove that suggested it could go on for years.... If Dexter regains its eerie footing (and it appears it will), look for it to explode in the final weeks. Sunday's edition says the surprises have just begun.
  40. Logan has the skills to make it anything but cheap. With a respectful eye on some of the public domain classics, he’s primed for a convention of forces that do more than just go bump in the night.
  41. [Director] Cassar juggles plenty of balls in that first hour, uses some new techniques at his disposal and gives Rajskub her best scenes yet. But there’s something very retro about the formula--something that doesn’t quite seem ready for revival.
  42. While parts of this are too broad, it’s crafted in such a way it can’t be ignored. Just when you think you’re ready to move away, Henson pulls you back in and Empire becomes the new song you can’t get out of your head.
  43. Corden isn’t as facile as Fallon, but he also isn’t as fawning. Instead of bringing guests out one at a time, he bunched them (a good move) but didn’t have enough experience to pull both into all conversations.
  44. This Bates Motel requires more than just a one-night stay. Once you slip in you may not want to check out.
  45. In the second season of The Newsroom, much of the posturing and preaching has given way to storytelling--a good thing. The bad? There's still way too much attention placed on the importance of the jobs being done in a cable newsroom.
  46. Falco is such a nuanced actress she could elicit tears from a blank script. Anna Deavere Smith (as her boss) provides some challenge but most of the other actors are pushovers. Chestnut's addition could give her the resistance she needs.
  47. It has to discharge a few clichés and run the brotherhood thing through a few more paces. But the pilot shows there’s worth and, yes, maybe even a pat on the head.
  48. By the time the first episode ends, “The Leftovers” has planted enough interest to make you want to stick around. By the time the third installment unfolds, the action really heats up.
  49. It's a safe bet he’ll get his legs here in a matter of weeks. Now, though, it’s very much a shake-down cruise. The boat is loaded. It just needs to get up to speed.
  50. While Vicious plots don’t stick, they do entertain.
  51. The new TNT miniseries (it's on just three weeks in December) has plenty of in-your-face drama and heaps of atmosphere.
  52. Part Greek tragedy, part “Silence of the Lambs” offspring, The Following has an intriguing premise that almost rises above its layered plotting.
  53. 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.”
  54. The sharpness of Season One gives way to the moodiness of Season Two. And, thus far (three episodes were made available), it’s hard to get a bead on where this is headed.
  55. Both actors [Al Pacino and Helen Mirren] could thrive with this story (Pacino's a ringer for Spector) but Mamet speculates a bit too much. Had he eliminated the title character entirely, it might have been more intriguing.
  56. Astronaut Wives moves as fast as a beach novel, covers more territory than a history book. But it’s history channeled through a distinct lens. The first episode was slow to launch, but the series could take off once we figure out who’s McSteamy and who’s McDreamy.
  57. 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.
  58. Little by little, Hello Ladies grows on you.
  59. Many of the opening episodes blend, particularly when the cases hover in the same ball park. When it strays, we learn a bit more about the relationships established before Warren stepped in. That interests. The cases? Not so much.
  60. Moments in the first episode suggest Defiance could be filled with the kind of minutiae "Star Trek" and "Star Wars" fans love. But its plot is so thin it could float away.
  61. When the second bananas nudge the top ones, The Comedians has laughs. When it leaves the two to play out a tired game of “The Sunshine Boys,” they vanish.
  62. The attempt to make this a story about two men grates. It’s as if someone wanted to elevate Oswald in order to humanize Kennedy. It doesn’t work--nor does the Oswald funeral scene.
  63. Cute, initially, the bull-in-a-china-shop premise wears a little thin until you realize there are others in the family capable of embarrassing dad, too.
  64. Directed by Steve Shill, Dracula intrigues but it may not have staying power. It doesn’t look as elegant as it should; it isn’t necessarily cast with an eye toward immortality.
  65. Dull, sluggish and frequently lost, Walken had none of the spark you’d expect from the “swiniest swine in the world.”... Allison William’s Peter Pan was more successful but only because she took a very straightforward approach to a role that should have been bubbling with life.
  66. On first blush, Deception is smart, stylish and involving. In time, it could drift. But, for now, enjoy the kind of storytelling that gives its core cast something interesting--and watchable--to do.
  67. It’s not about a “bad” teacher, just a slightly irreverent one.
  68. Showing how [Houdini] got the bug, learned his craft and went from sideshow oddity to world-wide celebrity, the film holds interest and makes you want to know more. Then, it pulls back the curtain and shows the locks, keys and stunts he uses to open all those seemingly inescapable devices. It’s a bit like knowing a gift before you unwrap it.
  69. Clearly, there's a new camp experience to be mined. Early on, though, Camp doesn't do much digging.
  70. While it isn’t as much of a surprise as the first Sharknado, this one manages to up the ante and take advantage of its pop culture standing.
  71. It doesn’t stir that many emotions. It doesn’t provide stunning insight into her character. It doesn’t even talk about setbacks (or her relationship with other Olympic gymnasts). Instead, The Gabby Douglas Story is a tribute to the power of positive thinking.
  72. It’s watchable but it’s not unforgettable and, oddly, it could be.
  73. Occasionally, it reaches its potential but, all too often, its delivery falls short of our expectations.
  74. The fish-out-of-water aspect intrigues but it also frustrates.
  75. Frequently, the mixed signals cross and Rogue seems unhinged. Stick with it, though, and you'll be rewarded with some nice moments that justify an unwieldy script.
  76. Modern Dads has an opportunity to enlighten. Now, in a half-hour format, the show barely flips a switch.
  77. Because this series doesn't tell us anything about the character we didn't know (a Mr. G spinoff might have been much better), it's often like spending time in purgatory. The laughs are there. Ja'mie's just not easy to take.
  78. The show's producers don't veer too far from the reality mold in crafting their series. They get a lot of plot and character in the first hour but if they're counting on a revelation every week, they could be forcing the story.
  79. Jonah from Tonga, a new miniseries from the talented Chris Lilley that doesn’t have enough heft in each episode to prompt weekly return visits. If the episodes were shown in bulk, the whole would have an amazing impact.

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