USA Today's Scores

For 835 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 Olive Kitteridge
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 502
  2. Negative: 0 out of 502
502 tv reviews
  1. It is nowhere near as sharp or as on-point as it needs to be.
  2. The show is so dour, the humor gets lost.
  3. What threatens to remain a drag is the format itself, with its weekly focus on plea bargains--and, so far, weekly speeches defending the new focus.
  4. Everything about the show feels just a bit off: underfunded, insufficiently cast and flatly written.
  5. The less you think about Revolution the more apt you are to like it.
  6. Jersey may just be competent, at best--but that's better than the incompetence that marks so many of the season's new offerings.
  7. Granted, it's all standard superhero stuff. But the action scenes are well-handled, the emotions and the characters mostly ring true, and the plot offers enough twists to keep you intrigued.
  8. Something's going on here, but unfortunately not between the two bland lead actors. Duchovny makes a peculiar hero, too laconic even when discussing his passion for tracking aliens. His character needs oomph, but The X-Files already has a nicely offbeat tone. Maybe this is how Fox will revive its still-lamented Alien Nation series. [10 Sept, 1993 p.Life 3D]
    • USA Today
  9. While hardly an exceptional series, Grey is a competent one. Still, if it hopes to run, it will need to make adjustments such as dumping Christina's already tired habit of seeing patients merely as her ticket to exotic procedures.
  10. Were Bates Motel a movie, Farmiga and Highmore (who has Tony Perkins' troubling, sort-of-smiling stare down cold) might be able to keep you tied to these damaged creatures through to the end of the film. But for a series, these do not feel like ties that bind.
  11. If you are willing and able to take it on its own fictional terms, it does work as a well-acted legal drama, though even on that level, you're better off watching The Good Wife.
  12. If the lines are never actually funny, some of them are amusing, and if the writing doesn't always work in Parents' favor, the cast does.
  13. There's nothing wrong with that cast. Simmons and Remini, in particular, play off each other expertly, and provide a nice, tart balance to Bornheimer's sweeter character. But despite their best efforts, the show just floats along, weightless, innocuous and eminently forgettable.
  14. 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
  15. There's a great TV show out there called The Office...This just isn't it...Instead, what NBC is offering tonight is a passable imitation of a miles-better British original -- a brilliant faux-documentary starring Ricky Gervais that has attracted a small but devoted fan base from its BBC America run.
  16. The camerawork is startling, but it can't hide a plot that is dreary and unbelievable. [6 Oct 2000, p.10E]
    • USA Today
  17. She's a likable character in a potentially likable show, but that show needs to take a giant step back from the New Jersey Italian-American cliches that overwhelm the pilot. [29 Sept 2000, p.12E]
    • USA Today
  18. At best, and most, 3rd Rock might catch on as the silliest of guilty pleasures, a Benny Hill burlesque where the leering material is enlivened by some outstanding physical comedy. ... When goofy, 3rd Rock rolls. When dirty, it's stone-cold bad. [9 Jan 1996]
    • USA Today
  19. Both leads are very good, particularly Bibb, who makes what could have been a superficial character touching without making her cheaply sympathetic. The real standout, however, is Rue, who is luminous as a weight-challenged girl who longs to hear cheers. [29 Sept 1999, p.3D]
    • USA Today
  20. A one-joke domestic sitcom redeemed by the joke's effectiveness. [17 Sep 1991]
    • USA Today
  21. At least this feels like a culture-clash adventure, not merely an audition for the seven callow cuties sharing yet another fab flat. [27 Jun 1995]
    • USA Today
  22. An intriguing, brainy but strangely unappealing catalog of short film pieces, the sort of nervy, smug spoofs that NBC's Saturday Night Live specializes in. [25 Sep 1992]
    • USA Today
  23. Defiantly deadpan and amusing. [26 May 1995]
    • USA Today
  24. This one's a notch better than some, with Ben Savage (Fred's younger brother) only slightly overdoing it as Cory Matthews, the brat of his pack, boasting with his buds about how late they made it through last night's late-TV monologue. [24 Sept 1993, p.3D]
    • USA Today
  25. Unfortunately, you can feel it in the plotting, which is perfunctory at best, and woefully, repetitively tired at worst.
  26. Unfortunately, having successfully created Mike and his family, Fox seems to have no idea what to do with them. The second episode and a later one made available for preview that features Anne Heche as Mike's rival at work fall back on what can be labeled the Comedy of Sitcom Stupidity.
  27. You'd be hard-pressed to find better actors than Crazy has gathered, and despite their show's abrupt shifts from frantic to torpid, there are moments when they make the relationships work. What they're less likely to do is make you laugh.
  28. There are no awful characters and no bad actors; this is a cute little show that exceeds expectations. What it's yet to provide, though, is a compelling reason to watch.
  29. Perhaps this is the way people really spoke in 1876 Deadwood, but TV isn't a research paper, and shows don't run with footnotes and annotations. Many viewers are likely to feel that Milch and the actors have failed to make the expletive-laden dialogue play as believable. Equally many are likely to find it off-putting, whether they believe it or not. It's just one more barrier for a genre that already has a problem connecting with a modern audience...That hurdle might have been overcome had the actors been able to pull us past the words and into the story, but Milch has not cast the show as well as he needed. With the exception of the always welcome Keith Carradine, whose dissipated Wild Bill Hickok is the series' most appealing character, the actors are not up to the tasks assigned.
  30. Children will enjoy some of the stunts, and adults may appreciate some of the love-conquers-all messages. But all ages may fear that, as with the original, there's less here than meets the eye.

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