USA Today's Scores

For 1,034 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 1.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Mad Men: Season 1
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 612
  2. Negative: 0 out of 612
612 tv reviews
  1. 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.
  2. 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
  3. [The first two installments] are Rise's best, most concise episodes, yet even they try to do too much, falling prey to an "and then this happened" narrative, a slew of distracting (and often badly bewigged) cameos and a rushed pace that is particularly ill-suited to the segment on the AIDS crisis.
  4. You may not completely love this fourth vacation away from the 21st century, but lingering affection should more than carry you through.
  5. 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.
  6. You get a great role for Holloway, who has great, sex-charged on-screen chemistry with an equally strong Callies, and the strength of that “What would you do” premise. And for now, that may be enough.
  7. Dense, dark, a little dreary and yet oddly intriguing, Heroes seems destined to attract an audience that is more loyal than large.
  8. 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.
  9. 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.
  10. 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.
  11. Whatever deeper point is being made here is obscured both by Lies' labored attempts to keep us guessing about the murder and, paradoxically enough, by the same star power that makes it worth watching in the first place. Still, assuming you're willing to sit through yet another story about the sad travails of rich, spoiled people, there is entertainment value to be found in the feuds and the gloss.
  12. 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.
  13. A good percentage of the show's jokes land, and the show’s structure (it's effectively a 13-episode miniseries, with each episode ending with a trial-specific cliffhanger) is a welcome variation on the conventional sitcom form. Plus you have Lithgow, giving another master class in comedy.
  14. 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.
  15. There is pleasure to be found in Life. There'd be even more, though, if a few more of us were invited in.
  16. There is nothing about Confirmation that's transformative, but it’s solid work about an important moment in our history. And for TV purposes, it’s a work that allows Washington to show what a fine actor she can be.
  17. As long as the film sticks to the scheme, it works as well. It’s less successful when it digs into Madoff’s personal life, or when it begins to search for broader meaning, particularly in a heavy-handed comparison between Madoff and the investment banks that caused the subprime mortgage crisis.
  18. 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.
  19. 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
  20. Sunday's two-hour premiere does a solid job of introducing an intriguing, if not exactly convincing, story and some appealing actors.
  21. Alcatraz is easy enough to follow tonight, with twists and surprises that are enjoyable and not enervating.
  22. 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.
  23. While Sopranos remains one of TV's high-water marks, the first hour hits that mark so slowly you may find yourself wishing Chase were operating under just a tiny bit of network time pressure. [2 Mar 2001]
    • USA Today
  24. The surprise lies in how sympathetic Johnson makes Kate while still imbuing her with her own streak of crazy, or how endearing Faxon makes Ben, a character who might otherwise wear out his welcome fairly quickly.
  25. 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.
  26. Crisis is not Allen at his peak, nor at his most serious and contemplative as an artist. Crisis is a bauble, a light comedy that starts very slowly (consider that another caution) and builds to a satisfyingly funny conclusion.
  27. 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.
  28. Wayans doesn’t yet have the gravity Glover brought to Murtaugh, but he compensates with his own polished skills as an actor and comic--getting every ounce of comedy out of the script without endangering Murtaugh’s believability as a cop. And while Crawford may not be the poster boy Gibson was in his youth, he gives the character a more subtle touch of humor and a more grounded poignancy.
  29. Gideon needs to put more work into its secondary characters and a more relaxed faith in Braugher's talents. That would be enough to make Gideon truly special. [10 Oct 2000, p.1D]
    • USA Today
  30. While many of the weight jokes are very funny, there are a few too many of them. Still, what matters most for the show's future health is that it does not define Mike and Molly as "fat." They're nice, normal, relatable people who eat too much and want to eat less.

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