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 1.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Transparent: Season 1
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. As in many filmed comedies, at times Knights seems content to substitute movement and scenery for comedy, but the brighter moments compensate for those times when the show goes slack.
  2. No matter how many times the cops mention hot clubs and Hollywood stars, or how many visits they make to the beach, LA is not likely to be counted among TV's more glamorous series. If you want flash, look elsewhere. What you get from LA is a show that's as solid and reliable as a well-built sedan.
  3. The show maintains a sensible balance between introducing Elizabeth's foibles and telling the story at hand--a well-constructed case that has her battling an ambitious prosecutor (the always interesting Terry Kinney).
  4. Funnier and unexpectedly sweeter than the current norm.
  5. All in all, O'Brien got his Tonight off to a decent start, though you still got the sense you were watching an introduction more than a settled production.
  6. 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.
  7. 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.
  8. 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
  9. This may not be the sitcom breakthrough for which we've all been hoping, but Lorre has produced a first episode that leaves you eager to try the second.
  10. It takes a while to pull you in -- but once it does, you're likely to stay. [20 Sept 1999, p.1D]
    • USA Today
  11. Yes, in essence, Numb3rs is just CSI with mathematics standing in for forensics. But that cleverly used math twist, combined with an excellent cast and a very un-CSI interest in the characters' family dynamics, provides enough separation to make Numb3rs worth watching on its own.
  12. The scripts offer a well-balanced mix of office politics, underlying mystery and weekly cop procedural. And the first-rate cast ties it all together with abundant skill.
  13. Better than the movie...How often can you say that about a network knockoff? [30 Sept 1996, p.3D]
    • USA Today
  14. As you'd expect from a new late-night show, parts of it worked better than others, and no doubt tweaks will be forthcoming. But overall, Monday's opening outing got Wilmore off to a solid start. ... It helps immensely that, in his first night, Wilmore already seemed completely comfortable as the show's host.
  15. It may be formula, but one where all the elements reliably click. [16 Sep 1992]
    • USA Today
  16. Though boringly narrated by a 93-year-old Indy, the tales are the stuff of many a kid's adventure story - back when kids still read. [4 Mar 1992, p.1D]
    • USA Today
  17. The best parts of this sleek but scaled-down show are what made the first film such an unexpected gas back in 1987: cartoonish mayhem, puns and visual gags, a cheeky tweaking of TV "infotainment" and a cheerful cynicism about a corporate culture grown even more mendacious on the back of the computer chip. [14 Mar 1994]
    • USA Today
  18. How mad you'll be for the slice-of-strife romantic comedy of Mad About You may depend on your tolerance for the young-ish and restless, verbally glib and urban-ly neurotic. [23 Sep 1992]
    • USA Today
  19. There isn't much new in this northern Western, but the scenery is lovely, the acting is solid, and the mix of characters is just what you'd expect from the genre.
  20. This slick new sitcom, from three former producer/writers of Cheers, might be accused of gliding along too smoothly, as opposed to soaring. But what a pleasant journey it promises to be. [19 Apr 1990, p.3D]
    • USA Today
  21. While gratitude and humility are admirable traits, there were times in Monday's opening moments when Fallon risked taking them to uncomfortable extremes.... Luckily, he rescued the moment with one of the show's better bits. A seemingly offhand remark about an unnamed star owing him money for betting him he'd never get the Tonight Show job led to a surprise-guest parade.
  22. You get a lot of jokes per minute from Meyers, and on Monday at least, most of them worked.... Time of course will tell, but Late Night once again seems to be in good hands.
  23. The Marshal is retro action stuff, every week a different chase and capture, but the ungroomed MacBride has enough character - and so does the show - to distinguish it from TV's legion of mediocrities from Matlock to The Commish. [31 Jan 1995]
    • USA Today
  24. Jersey may just be competent, at best--but that's better than the incompetence that marks so many of the season's new offerings.
  25. Whitford inhabits his role with the laid-back, reassuring ease of a true television professional--a fine actor working at top speed. Hanks is a bit of a harder sell. You get the feeling you're supposed to notice and appreciate every trick of the actor's trade, but there's potential in the performance, assuming Hanks is willing and able to relax into it.
  26. What NBC most likely wanted was a less intense, more audience-friendly mass-market entertainment with a clear hero and a leavening sense of humor. And that's what George Nolfi, who based his series on an Israeli show, has provided.
  27. If Fontana's goal is stark realism, it's undercut by the overly theatrical device of a funky narrator, an inmate who uses a wheelchair (Harold Perrineau) and who barks his thoughts into the camera. A sample commentary: "People kill to stay alive. That's as true in prison as out. But I'm wondering why in here we fight so hard to stay alive." [11 July 1997, p.3D]
    • USA Today
  28. Defiantly deadpan and amusing. [26 May 1995]
    • USA Today
  29. Ever since Sex and the City proved you could update Designing Women for a shallower audience by amping up the sex and removing the social content, TV writers have been trying without success to replicate the trick. Though Hot Properties feels too forced and a bit old-hat, it comes closer than most, thanks to a strong cast and a few genuinely funny lines.
  30. The sets and costumes are lovely to look at. The two stars--British import Gugu Mbatha-Raw and German import Boris Kodjoe--are about as attractive as people get....Now if only their show didn't feel so flat.

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