USA Today's Scores

For 743 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 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 454
  2. Negative: 0 out of 454
454 tv reviews
  1. Like Harry, the show has yet to fully master its tricks. There are a few decent jolts, but nothing is truly frightening or even that threatening. And while the show can be amusing, it's never exactly side-splitting.
  2. Funnier and unexpectedly sweeter than the current norm.
  3. The Riches most often treats this family and their mad attempt to steal a new identity with a delightfully light comic touch bolstered by an underpinning of yearning.... The show stumbles whenever it tries to become dark or serious.
  4. Intriguing and involving, if sometimes odd for oddness' sake alone, Raines is a novel twist on one of TV's oldest formats: the single, super-intuitive detective.
  5. Despite some passing references to Henry's fondness for "humanism" and new, middle-class men, no one is likely to mistake The Tudors for a treatise on the socioeconomic pressures that reshaped England during Henry's reign. Still, the show does a fine job of showing the interplay of passions and politics that shaped so many of his decisions.
  6. Sunday's two-hour premiere does a solid job of introducing an intriguing, if not exactly convincing, story and some appealing actors.
  7. The show seems faster, brighter and more entertaining than most of the serials that beat it to the punch this fall.
  8. Even when the guests and plots falter, the regular cast keeps the hour in painless motion.
  9. Obviously bigger and in most ways better than the wildly popular original, High School Musical 2 is as certain a bet to find and please its target audience as you're likely to find.
  10. Still, even when Back is faltering, you flash back to the skill of its stars and to moments when the show succeeds in making you laugh out loud.
  11. Some of the lines are witty, and while parents won't approve of all that goes on, the kids talk about much more than they actually do.
  12. This may not be the sitcom breakthrough for which we've all been hoping, but Lorre has produced a first episode that leaves you eager to try the second.
  13. Convincing both as the terrible woman she used to be and the nicer woman she's trying to be, Applegate holds the character together even when she's yelping or collapsing in a dither--though in the long run, less of that would be more.
  14. It's hard not to like a show that extends its warmth even to characters you expect to be unsympathetic and that expands its entertainment vocabulary to music, dancing and flights of fancy.
  15. This relatively entertaining fantasy has one obvious viewership advantage over many of its strike-bound scripted competitors: new episodes, and not bad ones at that.
  16. The show maintains a sensible balance between introducing Elizabeth's foibles and telling the story at hand--a well-constructed case that has her battling an ambitious prosecutor (the always interesting Terry Kinney).
  17. Though fun, the opener's skits are too short, and the characters too numerous, for any one joke to register. But give the show a week to settle, and the strengths of Ullman's concept come to the fore.
  18. Yet for all that it revels in catastrophe, the most promising aspect of Worst Week is a sweet-tempered empathy that allows you to identify with all four characters.
  19. The Mentalist may be a copy, but it's a well-done copy sparked by an actor who has come into his own as a TV star.
  20. There's no denying that the show looks a little worn, a victim perhaps of budget pressures that may have moved the series from cost-efficient to cheap. But even a reduced Lights is better than most TV series.
  21. Happily, the American version--a second try, after an original pilot was scrapped--makes mostly wise decisions, starting with trusting the show to O'Mara. He's off to an excellent start, particularly in grounding the story by keeping his reactions rooted in reality.
  22. For now, let's leave concerns for the future to Eli. In the present, things are looking good.
  23. In essence, Librarian is a summer movie blockbuster on a winter TV budget, and has all the virtues and flaws you'd expect from that odd pairing--including never taking itself too seriously.
  24. It's a smart, speedy melodrama, supported by a terrific cast and driven by a rip-roaring star. Damages is more than Close, but she's so compelling, it would be worth watching for her alone.
  25. The show is fun as is, but rise to Collette's level, and it could be great.
  26. None of the episodes is likely to keep you up at night puzzling out the intricacies of the mystery, but they won't bore you or insult your intelligence. Castle exists to exploit the appeal of its stars and the amusing byplay between their characters, and it does that with admirable efficiency.
  27. As much fun as Harper's can be if you're inclined to recline into it, the show was clearly produced with too little talent and, odds are, too little money.
  28. All in all, O'Brien got his Tonight off to a decent start, though you still got the sense you were watching an introduction more than a settled production.
  29. Some of the lessons are laid on a bit thick. But the cast, including April Bowlby as Deb's best friend, Ben Feldman as her guardian angel, and Jackson Hurst as her boyfriend, sells them with a minimum of fuss and a light touch.
  30. As funny as this scattershot sitcom can be, the problem remains that show business (and in particular, GE's business) is a topic of limited long-haul mass appeal.