USA Today's Scores

For 740 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.7 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 453
  2. Negative: 0 out of 453
453 tv reviews
  1. One hopes, [Katie is] bringing us deeper and more interesting topics than first guest Jessica Simpson's current preference for chocolate over chips or tips for losing her baby weight.... Couric retains an ability to connect with the people she interviews; to seem constantly intrigued and engaged.
  2. Despite the show's constant insistence that Joe and Louis are lifelong best friends, you struggle to spot what exactly Joe and Louis see in each other.
  3. If you've resisted Kaling's charms up to now, nothing that happens tonight is likely to change your mind.
  4. Alas, what must have sounded frightening on paper falls dead on-screen, done in by bad writing and terrible pacing.
  5. While the show makes almost no sense, it is pretty to look at. And it does have a few good actors in its mix, even if they're not particularly well served by the scripts.
  6. A sitcom that has moved from agreeably silly to disagreeably dumb, a regression no network should want to see.
  7. For these stories to work, we have to invest in the everyman hero caught in the center, and while Edwards may be convincing as the "everyman" part of the equation, the "hero" eludes him.
  8. Bynes shows promise, but neither she nor her co-star -- Beverly Hills, 90210's Jennie Garth -- has the skill to pull off physical comedy. They look as if they're being clumsy on purpose -- which defeats the comic purpose. [19 Sept 2002]
  9. Tucson is sweet and inoffensive -- and almost totally unamusing. The best that can be said for the show is that it's better than the only other Latino show on network TV, ABC's George Lopez...Of course, if that were the standard, WB's sitcoms would all be classics. [19 Sept 2002]
  10. Beyond doubt, great talents and noble ambitions are at play here, but somewhere in the process, those talents seem to have confused "good" with "dull" and "serious" with "tedious.
  11. Unfortunately for CBS, one tiny flaw slipped into its otherwise masterful plan: The network let JAG's Don Bellisario do the clone-off rather than the folks at CSI. That may not affect the ratings, but in terms of quality, it's a deal breaker.
  12. Some shows are so syrupy, you're afraid the tape will stick in the VCR. Which brings us to Everwood, a tiny Colorado town that time forgot — but that every sappy TV cliché found. Narrator? Check. Ghosts? Check. A town full of twee eccentrics? Check and checkmate.
  13. The shame is, after a very slow start, the living members of the Fisher family actually start to grow on you -- though it takes them far longer than it should. [1 June 2001, p.15E]
  14. As the show moves past the setup and into its first caper, the extended introductory episode does improve. And then it hits a final twist that would be tiresome even if you believed Graceland was equipped to explore it properly. Had Elvis ever actually entered the building, this would be the point where he left. Follow suit.
  15. Every detail in the show looks and feels false and phony--from the weird, yellow-tinged warehouse/prison to the skyline view of Washington that seems to insert national monuments at random.
  16. As for Byrne, maybe he shouldn't have done a sitcom so soon after doing Eugene O'Neill on Broadway. You can tell he's trying to make the lines funny, but he seems to be grimly and completely out of sync with everyone around him. [6 Oct 2000, p.11E]
  17. There may not be much sexual combustion between Cox and von Esmarch, but they're charming and able young performers, and they're sweet together. Their show has a good heart. What it doesn't have, unfortunately, is a lot of laughs -- which is the one thing it has in common with most other WB sitcom attempts. [6 Oct 2000, p.11E]
  18. The combination of witchcraft fantasy with the female empowerment message may be enough to charm the show's target young-girl audience. The rest of us, however, should hold out for something a bit more bewitching. [7 Oct 1998, p.3D]
  19. Neither sitcom nor drama, real-life nor fantasy, Fox's underwhelming Undeclared wanders around in some jumbled, stream-of-consciousness no man's land. Like real college freshmen, the characters seem hastily and inexpertly thrown together -- probably because they were. The producers built the characters around the people they hired, a form of paint-by-actor improv. [25 Sept 2001, p.3D]
  20. There is rich ground to explore in the problems Mexico faces and the responsibility we may bear for some of them-–but the show's clumsy attempt to boil that down to a catchphrase is offensive and silly, particularly as it has no real connection to the story being told.
  21. If you like Family Guy, you'll probably like American Dad. The problem is, if you've seen Family Guy, you've already seen American Dad. [4 Feb 2005]
  22. Medium doesn't get much help from Arquette, who gives one of the season's stranger and more off-putting performances. [3 Jan 2005]
  23. Ally McBeal has the components of a potential guilty pleasure. Giddily romantic but also sassily sardonic, it merely needs to curb some of its more groaning indulgences. [8 Sep 1997]
  24. Too much simply rings forced and phony, from the dialogue to the plot to the characters.
  25. Whether clinking crystal to a beat or jiving with the crusty butler, Smith is looked upon by even his detractors with condescending "isn't he something" adoration. Tiresome as that is, Smith's breezy and non-combative charm gives this the look of a winner. Even if, in concept, it's more nap time than rap time. [10 Sept 1990, p.3D]
  26. It's aggressively unambitious, with a sexual harassment story line having about as much impact as a new-roommate squabble over sharing peanut butter, but it's always easy on the eyes and never consequential to the intellect. [8 July 1992, p.1D]
  27. What you're left with is a series that, while less repellent than the even-more-misogynistic Dads, is equally dull.
  28. The best part about this family comedy is, indeed, the family, especially when Hayes and Lavin are sharing the screen. The workplace, however, seems to exist in another world, where no one and nothing is at all amusing.
  29. Indifferently acted and badly plotted, Tomorrow cries out to be ignored.
  30. To be fair, this otherwise languid show does momentarily come to life in its second episode, when Nebraska's June Squibb tears through the unit as a particularly nasty patient. But she leaves and the show recedes into its self-satisfied torpor.