USA Today's Scores

For 884 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 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Modern Family: Season 2
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 527
  2. Negative: 0 out of 527
527 tv reviews
  1. Prison Break may not hold up as a weekly series; it's much too soon to tell. But by and large it works as a two-hour premiere special, one that grabs your attention from its first scene to its startling cliffhanger ending.
  2. While his problems serve to humanize him, there are times when they also overwhelm the story. And though Branagh plays each flaw and foible extremely well, the cumulative effect can be a bit tiresome.
  3. 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.
  4. Too often, the writing stretches for cheap shock -- gags about phallic-shaped food and not wearing undies -- when the shock of Neil's culture clash already makes perfectly audacious comedy. [11 Sep 1992]
    • USA Today
  5. Russ's obsession with Milt's past overwhelms some of the upcoming episodes, and sentiment derails a few others. Still, the cast is strong, and in a season where so many series (some of them excellent) lean toward the grim, Creek's sunnier approach makes for a nice change.
  6. Despite the brain eating, producers have imbued the opening episodes with a sly sense of humor, a blend of sarcasm and bemusement, that McIver sells well.
  7. Be prepared for a first episode that is mostly setup, and for a few 24-like twists that seem out of place in a story that's meant to be more realistic. The further you go with Traffic, however, the more the story pulls you in. [26 Jan 2004]
    • USA Today
  8. 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.
  9. There is something extraordinarily appealing about the show's central pair.
  10. But the moments it goes too far or feels too slight are countered by the sense you're watching two men who care about their clients and are good at what they do, and by the emotional hook that helps provide. And that may be enough to turn it into a hit.
  11. 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.
  12. Tree is not the master at his best--it's one of those light entertainments that pass by without leaving much of a mark. But it's good-hearted and amusing.
  13. 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.
  14. What more could you ask? Sharper scripts, for a start, and a better sense that Perry's unhappy central character is strong enough to hold the center of the show. But there's enough promise here, and enough room to grow, that you can't help hoping Sunshine will follow the midterm-correction path set by the show it's replacing, Cougar Town.
  15. Divorced from a believable social context, Queer too often plays like a voyeuristic tour of gay life that's only interested in the most outrageous sights. It doesn't have to provide an insight into every gay person, but it does have to paint a more believable portrait of these people, which means anchoring them in a real place and expanding their lives beyond sexual encounters. [1 Dec 2000, p.15E]
    • USA Today
  16. While it will no doubt settle back into its normal pattern, the first two episodes have been a bit busy--and a little light on the courtroom drama side of things.
  17. Sorkin has created a funny, free-flowing comedy that more closely reflects the rhythms and look of a feature film. He may still have something to learn about the sitcom form, as witness the abrupt shift to sentimentality that ends the first two episodes. But when he's on his game, he provides moments of unexpected and acute insight that can almost leave you breathless. [22 Sept 1998, p.3D]
    • USA Today
  18. The Event knows the game it's playing and its risks. You can tell from the wink-at-the-audience last line, delivered by the always-welcome Innes: "I haven't told you everything." Tell us more--and soon would probably be best.
  19. For all its flights of fancy and its meta-jokes (most of them ably put across by Danny Pudi), the show still allows us to invest in Joel McHale's Jeff and his journey to self-improvement. Yet in its search for a plot, Community often seems to send Jeff back to square one so he can be redeemed all over again.
  20. The stunts and set pieces are impressive (though the show can't keep having Kimble jump off things every time he's about to be caught), but The Fugitive will ultimately rise or fall on Daly and Williamson. [6 Oct 2000, p.10E]
    • USA Today
  21. The series does what it was designed to do: It stays true to its roots while allowing fans to spend more time with Molly and her friends and the actors who play them.
  22. The plots of the two episodes available for review were standard and sometimes underdeveloped soap staples, but they're well handled by the attractive cast. [28 Jun 2000]
    • USA Today
  23. Practice is the kind of show that will probably appeal to those who like their comedy theatrical.
  24. What King adds is better writing (particularly in next week's funnier episode), a better cast and a more affectionate tone. The only real false notes are struck by Doug's friends, a standard-issue gang of fools and louts who could have dropped in from any sitcom. [21 Sept 1998, p.1D]
    • USA Today
  25. Cougar tends to start out big and a bit nasty, then pull back for a gentler finish. The problem may be that many viewers pull out before it gets there.
  26. The old plot was better than the new ones and that Broadchurch worked much better as a mystery than as a courtroom drama.... The cast, with new members Charlotte Rampling, Marianne Jean-Baptiste, James D'Arcy and Eve Myles, is still wonderful, and the series still has much to offer.
  27. FlashForward may not keep you hooked for years or even months, but chances are good tonight's episode will bring you back next week. For now, that's as far forward as we need to flash.
  28. This is a series where surface is substance, and surfaces don't come much dreamier than in this beautifully realized flight fantasy, from its lovely, terror-free airport to its even lovelier cast.
  29. Though he's playing a smarter, wittier, more self aware character than he did in The Office, Gervais displays the same gift for the social faux pas, and the same inability to extract himself from increasingly improper conversations.
  30. Curb is an experiment in free-form TV, one that is just as happy to make you cringe in embarrassment as make you laugh, and even happier just to dawdle along provoking no response at all. [13 Oct 2000]
    • USA Today

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