USA Today's Scores

For 1,025 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 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Downton Abbey: Season 3
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 607
  2. Negative: 0 out of 607
607 tv reviews
  1. Some plot twists seem implausible at best, others are overdone or gratuitous. But some implausibility comes with the horror/suspense genre, and there's no question Williamson has mastered it--just as there's no question that the match of wills between the wounded Bacon and malevolent Purefoy is exceedingly well played.
  2. A fast-paced, funny show that has bounced back from last spring's post-strike slump.
  3. A canny and clever series that makes hardware take a back seat to humanity. [31 Mar 1989, p.3D]
    • USA Today
  4. Watching Dr. Katz, with its jittery cartoon figures and deadpan monologue rants, is like experiencing a particularly giggly head trip. [5 Apr 1996]
    • USA Today
  5. The comedy ranges from silly to sharp, but it's seldom stupid and it's never mean-spirited – and the pair's talent is always on obvious display.
  6. Sentimental but not simplistic, warming the heart without turning the brain to mush, this series version of Catherine Marshall's enduring novel is a romance, to be sure, but braced with a rugged realism. [1 Apr 1994]
    • USA Today
  7. If you look past the sometimes strained pushing of the basic cable envelope (including a completely gratuitous breast shot), The Shield offers an interesting take on a familiar subject, one that boasts a great supporting turn from CCH Pounder as a smart cop who has seen it all.[12 Mar 2002, p.10D]
    • USA Today
  8. 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
  9. An exceedingly funny spoof of Cops that also manages to dismantle the entire crime-show genre. [23 Jul 2003]
    • USA Today
  10. 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
  11. 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
  12. This is a very special, terribly fragile, series. [7 Oct 1991]
    • USA Today
  13. 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
  14. Unlike the sweeter, sillier, less edgy comedy often practiced by Daily's new host Trevor Noah, Bee came out in full attack mode--intense, a little profane, and frequently hilarious.
  15. 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
  16. What works about the show outweighs what doesn't, but others will read the results differently.
  17. 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.
  18. 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.
  19. 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.
  20. [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.
  21. 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.
  22. 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.
  23. The plot is unlikely to interfere with the real draw of Bloods, which is watching a terrific, mature, extremely well-chosen cast interact.
  24. As the show progresses, the serialized aspect gets stronger and the tone gets darker, as characters who at first seemed good or benign begin to exhibit more complicated traits. It also adds more eccentric characters, in the same way Yost’s Justified did as it progressed.
  25. 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.
  26. 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.
  27. 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.
  28. There are moments in Bright Lights when our knowledge of what’s to come may add more weight to lines than they deserve, as we risk substituting foreshadowing for what was merely coincidence. And there are moments where you may justifiably wonder what the film would have looked like had one woman survived the other and been able to ask for changes. But that didn’t happen, and this is the film we have--one that is likely to leave those who loved Reynolds or Fisher loving them even more.
  29. Odds are that for most who have fond memories of the show, the good will outweigh the bad. But there’s no doubt that for others, the scale will differ.
  30. There are times when Quantico feels a shade mechanical, in moments when you can practically hear the plot gears moving. But it accomplishes what the opener of a whodunit needs to do: establish a wide range of plausible suspects and spark our interest in the mystery and the hero. Which means, so far, they got away with it.

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