The Wrap's Scores

  • TV
For 196 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Louie: Season 4
Lowest review score: 10 Bad Judge: Season 1
Score distribution:
  1. Mixed: 0 out of 121
  2. Negative: 0 out of 121
121 tv reviews
  1. Season 2 is bolder, stronger, and more audacious because now, actions have consequences.... For a TV show, the stakes don’t get much higher and Soloway nails it all with ease.
  2. The acting is delightful, the visuals are sumptuous, the stories couldn't be more surprising.
  3. Writer and executive producer Noah Hawley upped the game with a sharp, well-developed story involving multiple moving parts. It’s smart, thought out and full of watchable characters with convincing enough motives to create the perfect amount of viewer sympathy. The end result isn’t just a “Fargo” 2.0 (or 3.0 depending on your love of film), but an evolved story that takes television to a whole new level.
  4. The FX limited-run series is every bit as watchable as the insanely watchable trial.
  5. Few shows are so grounded. And, if you have a little patience, few shows are so worth watching.
  6. Louie is television's best half-hour drama. It's also one of the best comedies, when it still wants to be, which isn't all that often.
  7. My complaints about the new season revolve around that 1 percent [that is unrealistic]. The show is better as a human drama than a political procedural, thank God.
  8. You don't need to pay attention to the authentic background characters, or the glorious music, or the exquisite clothes, or even the textured dialogue to appreciation the majesty of Boardwalk. In fact, you can strip away the majesty--which the show loves to do--and still have a killer drama.
  9. Tambor anchors the show with his sad eyes, but Landecker, Duplass and Hoffmann also turn in strong performances as the addled children.... Episodes might break your heart, but you'll keep coming back for more.
  10. There's a looser feel after so much anger and grief; jazzy instrumental music underscores the twisting and turning action. It's top notch TV by directors at the height of their game.
  11. A compulsively compelling series that grows richer and more emotionally nuanced as it gains momentum, The Man in the High Castle milks its provocative what-if premise for plenty of smart suspense and subtle shading.
  12. The production is exceedingly well put together and boasts a fine cast that also includes Ann Dowd (pivotal figure in HBO's melancholy post-Rapture series “The Leftovers”) and “Breaking Bad” co-star Jesse Plemons. McDormand is nothing less than extraordinary in the title role.
  13. Few current shows on TV approach The Leftovers level of contemplation and as a result, the show stays with you long after an episode ends. Though it’s sobering to watch, it’s also very moving and beautifully acted.
  14. That we never really know the people whom we love is a powerful, popular theme that fits snugly into the thriller and horror genres (think of “Rosemary’s Baby” and all those early ’90s erotic thrillers) but to see it rendered so artfully and crisply and unsentimentally as a weekly drama is to understand why we are so often informed that we live in a golden age of TV.
  15. The brilliance of Showtime’s Ray Donovan expresses itself not only through the impactful intelligence of star Liev Schreiber, but through nuanced moments in its literary-quality storytelling--written and visual.
  16. In season three, it’s clear the complex web of relationships will deepen and tangle even further. The show’s writers continue to craft the story with expert care, giving each character moments to shine. Masters of Sex continues to be a Sunday TV must.
  17. Silicon Valley often has the watch-it-all-come-together plotlines that make those shows [“Seinfeld” and “Curb Your Enthusiam”] such delightful comic puzzles.
  18. Nic Pizzolatto’s script and Cary Fukunaga’s direction slowly, methodically earn every big moment. And when those moments arrive in the third episode, they’re legitimately terrifying.
  19. Orange Is the New Black is as scatological as ever in the second season and leans awfully heavily on lesbian sex to the point of repetition. But where it shines most is when it shows the sense of dislocation inmates can have from being shuffled around with little explanation. Prisoners come and go, and they all seem to have a story.
  20. Mad Men is getting better as it goes on.
  21. It’s hard to hit pause on Making a Murderer once it’s rolling through the queue.
  22. Master of None is more articulate than any other show at putting under a microscope that generation’s neuroses, desires, and ambivalence. The series also happens to be sexy, hilarious, and very moving, a tribute to Ansari’s observational powers and ability to pinpoint the zeitgeist.
  23. Agent Carter hits the screen a much more confident show than “Agents of S.H.I.E.L.D.” did last season. This is a show with a clear vision, a powerful acting ensemble, and the perfect Marvel blend of action, excitement, pathos and humor.... [It is] easily one of the most entertaining premieres of the season.
  24. Saul moves faster, but it has that same sense of mood and atmosphere. Scenes are set through lighting, sound and visuals in a way that you actually notice and appreciate. It’s television as artisitic expression rather than just pointing the cameras at the actors and having them read lines.
  25. It’s a complex protagonist, the kind we don’t see enough of on television or in studio films.... This series feels like the first superhero show really just for grown-ups--and it totally works.
  26. With lead characters this complex, showrunner Michelle Ashford has plenty of material to plumb for episodes to come. Judging by the second season's start, Masters of Sex is just getting down to business.
    • 84 Metascore
    • 80 Critic Score
    The season five premiere of Key & Peele finds the duo returning to their sharply observed sketch show in fine form, their keen eyes focused on recent news and social events.
  27. Subplots surrounding Green’s southern belle daughters, espionage and PTSD do little to move the series along and would’ve been better shortened or left on the cutting-room floor. That said, such distractions do little to dilute Mercy Street as the imperative Civil War narrative it truly is.
  28. This sitcom’s battering ram of madcap inanity can run aground when a particular episode doesn’t have an especially memorable storyline, and perhaps Angie Tribeca caters too much to an audience in thrall to the old “Airplane!” style of so-broad-it-hurts humor. From the 1980s’ “Sledge Hammer!” to the more recent “Brooklyn Nine-Nine,” smart-aleck cop comedies are nothing new. But in its minute-to-minute pleasures, Angie Tribeca is one big goofy grin of a sitcom. Season 2 can’t come quickly enough.
  29. The Messengers is an appealing and entertaining cross between “Heroes” and “Supernatural” and has the potential to be just the hit The CW needs and viewers deserve.

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