USA Today's Scores

For 850 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 1.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Homeland: Season 2
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 511
  2. Negative: 0 out of 511
511 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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
  6. 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.
  7. 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
  8. 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.
  9. 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.
  10. 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
  11. 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.
  12. 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
  13. Practice is the kind of show that will probably appeal to those who like their comedy theatrical.
  14. 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
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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
  21. Ted, like most such single-camera sitcoms, is just too mannered and cold, though warming signs do appear in later episodes. Happily, despite its flaws, it's well-cast and reasonably entertaining.
  22. A strong cast and that things-that-go-bump-in-the-night shooting style so far keep the show on course.
  23. It can all be a bit much: Elizabeth needs to be wrong now and then. Still, against considerable odds, Leoni sells it, conveying the brains and toughness Elizabeth needs to be successful in her job and the warmth, vulnerability and sometimes prickly humor she needs to be successful at home.
  24. Certainly, anyone looking for fast-paced, neon-lit entertainment will find Las Vegas one of the season's surprisingly better bets.
  25. For now, let's leave concerns for the future to Eli. In the present, things are looking good.
  26. Arnett is a master of fluster, and Bridges is befuddled charm personified. The revelation, though, for those who only know her from her Emmy-winning dramatic work, is Martindale, whose comic timing rivals the best in the business.
  27. There are times when the show feels both weightless and way too precious (that title), but those are counterbalanced by the charm and skill of the cast.
  28. The cases he tackles are intriguing, if wildly complicated and too often sustained by that peculiar TV mystery mix of intuitive leaps and bad basic police work....Yet as with all such shows, it's the main character who provides the main reason for watching, as the long-suffering Wallander struggles to solve the crimes and put his life back in order.
  29. This is a show with many virtues. Now, if Huff can just learn the virtue of restraint, Showtime may finally have the hit it has been working so hard to find.
  30. Startling incidents, odd coincidences and sudden turns of fate abound, sometimes to a ridiculous extent.

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