USA Today's Scores

For 1,052 reviews, this publication has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 623
  2. Negative: 0 out of 623
623 tv reviews
  1. In terms of the writing, there's nothing extraordinary going on, but the casting and setting is another step forward in TV's drive toward greater inclusion.
  2. While it's possible that the staff is the butt of a few too many of the jokes, the pilot is good-natured enough to stay on this side of the offensive line. That line, however, could easily fray - as could our patience if Outsourced devolves into a two-joke show: silly Indians who don't understand our silly customs. For now, mark it down as a show worth watching. Only time will tell if it's worth the trouble.
  3. Were Bates Motel a movie, Farmiga and Highmore (who has Tony Perkins' troubling, sort-of-smiling stare down cold) might be able to keep you tied to these damaged creatures through to the end of the film. But for a series, these do not feel like ties that bind.
  4. At just seven hours, you can think of Scandal as the modern equivalent of those old Sidney Sheldon miniseries and enjoy it at that level. Assuming you can get through the first hour. And past the main character.
  5. What it lacks, unfortunately, is style -- some sense of smart, well-executed, up-to-date design. You can almost see the corners being cut, from the inconsistent casting to the cheap reliance on sex to the blatantly fake back-lot sets that are trying to pass for Chicago. You may not expect originality in a movie transfer, not when familiarity is what's selling the show. But you do expect Barbershop to display enough style of its own to avoid looking like a cheap knockoff.
  6. As it is, Hour arrives as yet another import procedural on a schedule that is already awash in both.
  7. At least this feels like a culture-clash adventure, not merely an audition for the seven callow cuties sharing yet another fab flat. [27 Jun 1995]
    • USA Today
  8. That a premise so slight yields as much amusement as it does is a tribute to Gervais and Merchant's quick wits and to Pilkington's blend of extreme gullibility and offbeat quirkiness....The purposely retro animation, which turns Gervais into a more cheerful Fred Flintstone, not only adds nothing to the mix--it subtracts.
  9. Clearly the show is trying to contrast humor with murder, lightening the mood with cat kidnappers and plushie hot dogs. But like too many ABC shows, it pushes the quirkiness too hard.
  10. There's no question that some of the jokes are funny, or that it's nice to see Sisto in a role that lets him lighten up.
  11. The L Word wants to be as liberating for gay women as Sex and the City was for their straight sisters. Instead, it comes across as a repetitive soap opera that reduces life to sex, and sex to a Joey Tribiani fantasy about girl-on-girl make-out sessions.
  12. For fans of soaps, there is reason for hope. The show looks great, and it often sounds good, particularly when Emily is delivering a line we know is nasty but her victim doesn't.
  13. Thanks to all the talent, what could have been an incredibly hokey Ghost Whisperer retread has much more moody potential.
  14. While hardly an exceptional series, Grey is a competent one. Still, if it hopes to run, it will need to make adjustments such as dumping Christina's already tired habit of seeing patients merely as her ticket to exotic procedures.
  15. While some attempts to recall the tenor of the times feel strained, there are intriguing moments in the generational, racial and sexual clashes swirling around the central story. Unfortunately, whenever the show meanders its way back to that central story of Manson and Emma and their newly formed family, momentum stalls and interest drains.
  16. Collectively, Inconceivable seems a bit desperate and confused.
  17. When Resurrection focuses on Jacob and his family, the actors and the concept carry it. But hours must be filled, and the more the show expands to include other Arcadians, most of whom are tiresome, the weaker it becomes.
  18. Yes, the additions sometimes feel shoehorned in, and, as in The Bible, the storytelling gears still sometimes clunk. But anyone who loved The Bible and yearned for a sequel is likely to find A.D. satisfying.
  19. Ordinary just feels too crowded, as if it's straining to serve too many genre masters at once. Still, there is pleasure to be found, much of it provided by Chiklis.
  20. Frequency is a much smaller story [than NBC's Timeless]: a daughter trying to save her father without endangering everyone else around them. It's a good story, but in essence, it feels very much like a movie story--which is exactly what it was. Whether it can work as a TV story, only time will tell.
  21. The show's attempt to turn Oz's "I'll allow it" into a catchphrase is a bit tiresome, but otherwise, the characters and the plot twists combine to make the time pass painlessly.
  22. At best, and most, 3rd Rock might catch on as the silliest of guilty pleasures, a Benny Hill burlesque where the leering material is enlivened by some outstanding physical comedy. ... When goofy, 3rd Rock rolls. When dirty, it's stone-cold bad. [9 Jan 1996]
    • USA Today
  23. The show may be able to relax into the kind of easy weekly entertainment you can find an hour earlier on Bones.
  24. Caught in this Kafkaesque nightmare, Phillippe struggles to retain some sense of reality, and he almost achieves it. But the script and his fellow actors derail him at every turn, and what begins as disquieting quickly morphs into comical.
  25. It seems so entranced by its own cleverness that it too often crosses that socially acceptable line between self-confidence and narcissism.... Marino is instantly winning, and Wilson is a gifted comic performer who just needs to pull back a bit.
  26. What threatens to remain a drag is the format itself, with its weekly focus on plea bargains--and, so far, weekly speeches defending the new focus.
  27. Ambitious and intriguing though it may be, Tin Man is simply too long, too grim and too determined to impose a Lord of the Rings universe-saving quest on top of a simpler, gentler story.
  28. If only it all felt just a bit faster.
  29. Moonlight. It's basically "Angel" without the search-for-a-soul underpinnings that gave Angel depth, and with a more ponderous script and less adept cast.
  30. 30 Rock is funny or it's nothing. And this season, it hasn't been nearly funny enough.

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