USA Today's Scores

For 801 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 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Larry Sanders Show: Season 2
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 481
  2. Negative: 0 out of 481
481 tv reviews
  1. It's sometimes lyrical, other times cruel, provocatively adult and often profane. The downside: a suffocating ambiguity that may smother its hopes for commercial success. [25 Oct 1996]
    • USA Today
  2. 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
  3. Whatever one thought of Practice last season, Boston Legal is a separate show -- and it should be viewed with a clean slate. Taken on its own purposely outrageous terms, Boston succeeds as a decent legal comedy led by two broadly amusing characters. [1 Oct 2004]
    • USA Today
  4. The aggressively, self-consciously weird Carnivale is a sideshow step away from most any TV series you've ever seen. You may find its oddity appealing, or you may find it off-putting, but its distinctiveness is unmistakable. Next to Carnivale, Twin Peaks looks like JAG. [12 Sep 2003]
    • USA Today
  5. There's talent and intelligence at work in Smallville. Given time, maybe they'll find a more distinctive voice...And that would be super. [16 Oct 2001, p.4D]
    • USA Today
  6. Even amid the excess exposition, you'll be able to spot a few enjoyable jolts, some clever, throwaway culture-shock moments and the charms of the show's two stars. Combined, they give the show more than enough room to grow into an entertaining weekly adventure.
  7. Thanks in large part to the grounded, nuanced performance from Collette, tonight's introduction effectively establishes both the moral dilemma at the heart of the story and the chess match the show intends to follow between Sanders and Carlisle.
  8. When The Goldbergs sticks to its loud, abrasive but loving family, it's fine. It's when it switches its focus to the '80s, complete with a voice-over designed to point out every difference between that decade and our own, that it gets into trouble.
  9. While Trophy Wife is an often-amusing comedy, it doesn't entirely work as a family comedy, because it has yet to convince us that these people could ever be part of the same family.
  10. Most every move creators Robb and Mark Cullen have made is a smart one, starting with casting an entirely fetching Maggie Lawson as the mother and the great James Caan as her gruff, constantly inappropriate father.
  11. This is a series about outcasts trying to find their way in, and it's often at its best in its quieter moments.
  12. 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.
  13. It understands that its first job is to make us believe in Bonnie and Clyde and commit to their story. And that it does, perhaps not brilliantly, but well.
  14. You may not completely love this fourth vacation away from the 21st century, but lingering affection should more than carry you through.
  15. 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.
  16. 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
  17. The main characters are well-drawn and well-played, particularly by Mulroney, Taylor, Gross and (as you'd expect) Anderson, and the structure already seems reliably sturdy.
  18. It gets better, digs deeper and reaches farther than anyone might have predicted.
  19. 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.
  20. Certainly, anyone looking for fast-paced, neon-lit entertainment will find Las Vegas one of the season's surprisingly better bets.
  21. It's two hours of all the things you love (or don't) about 24: The twists and turns, the recalcitrant, dimwitted superiors, the nick-of-time escapes and oh-so-close near-captures. And, of course, there's Sutherland and Rajskub, still one of the best teams the spy genre has ever produced.
  22. 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.
  23. What Mantello projects, and the movie lacks, is a kind of raw, exposed-nerve drive. As a play, The Normal Heart was political theater: It strong-armed you, but it worked. The movie emphasizes the love story to the point where it borders on romantic fantasy.
  24. 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
  25. 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
  26. In essence, Tyrant is a ruling-family variant on The Godfather, shifted from Italy and America to the Middle East. But don't dismiss the shift out of hand: That move is precisely what makes Tyrant so intriguing--and so troubling.
  27. If parts of the tale are familiar, it's all well-told, with a bit of visual flair.... [Berry] brings a dignity and gravity to Molly, a projected intelligence that allows you to buy her as an astronaut and to see what has happened to her as frightening rather than ridiculous.
  28. The cast is uniformly first-rate, but the real star here seems to be Sonnenfeld. He brings to Maximum Bob the same gleeful affection for strange characters and dark humor that enlivened his movies -- and that will be on display in the fall in his Fantasy Island update. [4 Aug 1998, p.1D]
    • USA Today
  29. The swords and the muck may bring Game of Thrones to mind, but where Game has no heroes, Outlander has at least three, with the foremost being the one Balfe imbues with beauty, brains and spunk.
  30. Aided by that blood and a driving, anachronistic techno-beat score, The Knick avoids the worst trap of a period piece: It isn't quaint. It's also never dull.

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