USA Today's Scores

For 867 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 24: Season 1
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 519
  2. Negative: 0 out of 519
519 tv reviews
  1. Crude in execution, harsh by design, South Park is deliciously deranged. Don't bite unless you have a taste for the tasteless. [13 Aug 1997]
    • USA Today
  2. An exceedingly funny spoof of Cops that also manages to dismantle the entire crime-show genre. [23 Jul 2003]
    • USA Today
  3. So all is well until the story takes a melodramatic turn that seems so out of character for this starkly realistic show, you have to wonder if it was imposed by the network or the studio to create buzz. Nevertheless, this is a terrific series with proven writers and actors. I'm willing to wait and see where they go next. [5 Oct 2007, p.2E]
    • USA Today
  4. While the device seems pasted on, its cleverness and occasional shock value gives Dream On the distinction it otherwise lacks. [6 July 1990]
    • USA Today
  5. This is a very special, terribly fragile, series. [7 Oct 1991]
    • USA Today
  6. A wafer-thin but bonbon-yummy romantic sitcom that sweeps you off your feet and deposits you in a gale of giddy laughter. [24 Sept 1997, p.3D]
    • USA Today
  7. Don't expect the new or revolutionary. There's nothing the least bit special about this ensemble drama, set at a barely-scraping-by Boston law firm, except that it's all done so well. [4 Mar 1997]
    • USA Today
  8. What works about the show outweighs what doesn't, but others will read the results differently.
  9. The tweaks this new Fox hour brings to the template are a higher degree of special-effects-fueled action, a faster pace and a consistently amusing tongue-in-cheek tone.
  10. It relies on excellent work from Enos as the dark, damaged Linden and Kinnaman as the slightly lighter Holder to carry us along even when the plot seems to be stagnating.
  11. It establishes the main character--and reintroduces us to a totally winning TV star--while creating a multilayered world that gives that character room to maneuver and grow.
  12. [The premiere is] another well-told story that gives us a bit more insight into the pair while the season's two interconnected running story lines spool out behind them.
  13. Watching this invisible, unheard being manipulate children is unsettling, to be sure--but it also becomes perplexing, bordering on silly, in ways that writer Soo Hugh can't possibly intend. On the bright side, Rabe is excellent as the troubled heroine, with Sloane equally good as the equally troubled father and spouse.
  14. It has established genuine emotional bonds between its characters. There is something at stake here beyond the mechanics of the "sting," and that gives the show enough weight to keep it from dissipating in the summer heat.
  15. The plot is unlikely to interfere with the real draw of Bloods, which is watching a terrific, mature, extremely well-chosen cast interact.
  16. It's a well-woven tale, with the different strings hanging together nicely and leading off in a few directions you might not expect. The direction is crisp, the cast is fine, the loopholes are mostly closed and the secret-agency/new-identity world is generally convincing, making this in some sense a version of Dollhouse that works better than the original.
  17. Among the innumerable improvements here that lift Jack over Dad, start with turning the paternal lead over to Christopher Meloni--an actor who can convey warmth, brains and masculine menace with a glance--and giving him an actual person to play, rather than an insult-spouting cartoon. Then throw in making his wife a regular character, casting Rachael Harris and moving the story back in time, so that the son is now a more empathetic teenager, rather than an adult moving back home.
  18. Green and Dalton are incredibly entertaining, their world feels fully created, and in Logan, their show is in the hands of a great writer. It's not quite clear yet where he's leading us, but for awhile, at least, consider following.
  19. Though the entire cast is strong, it's Morris who holds the show together with a winning combination of smarts, looks, steel and warmth. She makes a very good Case for watching. [26 Sept 2003, p.14E]
    • USA Today
  20. You may not completely love this fourth vacation away from the 21st century, but lingering affection should more than carry you through.
  21. Two Sarah Michelle Gellars may not be better than one, but they're certainly just as good. And thankfully, that's more than good enough to get the new TV season off to a roaring early start.
  22. Dense, dark, a little dreary and yet oddly intriguing, Heroes seems destined to attract an audience that is more loyal than large.
  23. 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.
  24. It's a well-constructed piece of popular entertainment from a dependable provider of the same, with an easy-to-like star and an easy-to-grasp premise.
  25. Graced by strong performances from Sienna Miller and Toby Jones as Tippi Hedren and Alfred Hitchcock, this backstage story of Hollywood sexual obsession is never less than enjoyable.
  26. Hope, however, has more going for it than a good heart and some good lines. It has a very good cast, with Neff and Dillahunt sure to be welcome weekly presences.
  27. For all the sex jokes (most of which are amusing), this is at heart a family comedy, with Cox completely winning as a mom trying to make herself happy without making her son miserable. Odds are that other moms can relate.
  28. There is pleasure to be found in Life. There'd be even more, though, if a few more of us were invited in.
  29. There's no denying that the show throbs with life--and offers enough of a promise of tuneful, scenery-chewing entertainment to make up for the familiarity of some of its twists.
  30. Aside from the decided lack of humor and the distinctive talents of the stars, there are some other fairly significant differences between NY and the other CSI installments. Mac and Stella work more as equals than Miami's team, and are less competitive than CSI's. We're also given more information about their personal lives. [22 Sep 2004]
    • USA Today

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