The Wrap's Scores

  • TV
For 35 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 10.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 75
Highest review score: 100 Louie: Season 4
Lowest review score: 30 Crossbones: Season 1
Score distribution:
  1. Positive: 28 out of 28
  2. Mixed: 0 out of 28
  3. Negative: 0 out of 28
28 tv reviews
  1. The acting is delightful, the visuals are sumptuous, the stories couldn't be more surprising.
  2. 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.
  3. Few shows are so grounded. And, if you have a little patience, few shows are so worth watching.
  4. 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.
  5. 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.
  6. Silicon Valley often has the watch-it-all-come-together plotlines that make those shows [“Seinfeld” and “Curb Your Enthusiam”] such delightful comic puzzles.
  7. Mad Men is getting better as it goes on.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Overall, the season gets off to a very strong--and interesting--start. The writing is deepening along with the relationships depicted.
  13. This is silliness for its own wonderfully ridiculous sake.
  14. It helps that the show is well-acted, and that everything from the fonts to the costumes to the camerawork are gorgeous. You may need a while to puzzle out what's happening on screen, but at least you can enjoy some lovely scenery.
  15. The show works because all of its actors seem so human, so likeable, despite the words coming from their mouths.
  16. At times, however, Hawley goes a little too heavy on the quirk, and Thornton, who last regularly appeared on TV in the John Ritter political comedy “Hearts Afire” in the early 1990s, overly indulges in that smirk. Bits between mob enforcers Mr. Numbers (Adam Goldberg) and Mr. Wrench (Russell Harvard) also wear out their welcome. The overall quality of TV's Fargo is high.
  17. This is, like Alan Moore's “League of Extraordinary Gentlemen,” a clever exploitation of characters in the public domain. But creator John Logan's story also thrives on its own. Penny Dreadful is a beguiling examination of that space between life and death.
    • 68 Metascore
    • 80 Critic Score
    Despite the kitchen-sink feel to it all, Extant has much going for it. Berry impressively handles the task of playing a woman who's coming to grips with both a interstellar conception and a laboratory-built “son.” And so far the series has done a good job of balancing the gee-whiz gadget fetishism of science fiction with the need for characters that the viewer will care about.
  18. The cast is uniformly good, especially Corey Stoll as Dr. Ephraim Goodweather, the head of a Center for Disease Control team called in to investigate that dead plane.... The greatest strength of The Strain is its ability to revamp vampires while paying homage to the myths about them that have accrued over decades.
  19. Despite first impressions that can feel one-note, all the characters turn out to be complicated and intriguing.
  20. Despite the occasional creakiness and lapses into melodrama Downton Abbey remains a show to watch, notable for its dreamy production values and the real depth of feeling it portrays between the classes.
  21. Looking is a good show. It will reward viewers who can hang on beyond the first episode and can adapt to its much slower pace and more naturalistic shooting style..... But, Looking will make you work to get there.
  22. Its kindly spirit and those performances [from Graynor, Hansen and Grier] help prevent Bad Teacher from falling into the increasingly raunchy trap of its network predecessor, “Two and a Half Men.”
  23. 24: Live Another Day does action scenes really well, but the dialogue suffers: It can be overly melodramatic and expository.
  24. It's just a good story, cleverly told. It's not going to resolve the troubles in the Middle East, but then again, neither has anything else.
  25. Viewers’ patience for the show and its dreamlike pace will likely depend on their appetites for soul-searching about the afterlife.
  26. The writing is fairly predictable on the pilot, which plays a lot of emotional notes we're all very familiar with on TV.... Problems aside, there's a “Wonder Years” quality to Red Band Society that transports viewers back to those simple firsts in life, the coming of age rites of passage that we all instantly understand and can connect to.
    • 72 Metascore
    • 70 Critic Score
    Gotham is dark and unpleasant, but it's also exciting and unpredictable.
  27. The exceptionally well-cast The Red Road starts well, but slips in the second episode.
  28. The fact that so much of the show relies on Oliver means he bears the burden of getting the tone exactly right. And right now, he's a little more angry than funny.

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