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 The Larry Sanders Show: 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. Ritter ... still has the same deceptively innocent face, the same way with a line, the same gift for a great double take or a bit of physical business. And he's still surrounded by pretty women who invariably get the better of him. Unfortunately, he's also still working with scripts that aren't up to the comic effort he pours into them.
  2. 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
  3. Its virtues have been buried under the kind of meandering plots and underpowered dialogue that mark so many TV comedies these days, which seem unable to decide whether they'd rather be unfunny comedies or insufficiently serious dramas.
  4. [Cristela Alonzo's] pushing a bit too hard for laughs in places, but the joy she brings to her performance can be infectious, and the authenticity she brings to some of her scenes points the way to a better future.
  5. The show is funny enough, and the performers and setup are solid enough to hope CBS will give this working-class comedy a little time to work.
  6. Unfortunately, [Sutherland's] disciplined performance is done in by an undisciplined show that moves too slowly to put limits on Jake's powers.
  7. This earnest Texas saga of high-school football and larger life goals really does go against the grain. It's not an annoying sitcom, for one. And it has a generally terrific cast and positive values. But in terms of ambition and depth, it fumbles on a gridiron of self-righteous improbability. [1 Oct 1993]
    • USA Today
  8. 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
  9. While it's possible that the staff is the butt of a few too many of the jokes, the pilot is good-natured enough to stay on this side of the offensive line. That line, however, could easily fray - as could our patience if Outsourced devolves into a two-joke show: silly Indians who don't understand our silly customs. For now, mark it down as a show worth watching. Only time will tell if it's worth the trouble.
  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. At just seven hours, you can think of Scandal as the modern equivalent of those old Sidney Sheldon miniseries and enjoy it at that level. Assuming you can get through the first hour. And past the main character.
  12. What it lacks, unfortunately, is style -- some sense of smart, well-executed, up-to-date design. You can almost see the corners being cut, from the inconsistent casting to the cheap reliance on sex to the blatantly fake back-lot sets that are trying to pass for Chicago. You may not expect originality in a movie transfer, not when familiarity is what's selling the show. But you do expect Barbershop to display enough style of its own to avoid looking like a cheap knockoff.
  13. As it is, Hour arrives as yet another import procedural on a schedule that is already awash in both.
  14. 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
  15. That a premise so slight yields as much amusement as it does is a tribute to Gervais and Merchant's quick wits and to Pilkington's blend of extreme gullibility and offbeat quirkiness....The purposely retro animation, which turns Gervais into a more cheerful Fred Flintstone, not only adds nothing to the mix--it subtracts.
  16. Clearly the show is trying to contrast humor with murder, lightening the mood with cat kidnappers and plushie hot dogs. But like too many ABC shows, it pushes the quirkiness too hard.
  17. There's no question that some of the jokes are funny, or that it's nice to see Sisto in a role that lets him lighten up.
  18. The L Word wants to be as liberating for gay women as Sex and the City was for their straight sisters. Instead, it comes across as a repetitive soap opera that reduces life to sex, and sex to a Joey Tribiani fantasy about girl-on-girl make-out sessions.
  19. For fans of soaps, there is reason for hope. The show looks great, and it often sounds good, particularly when Emily is delivering a line we know is nasty but her victim doesn't.
  20. Thanks to all the talent, what could have been an incredibly hokey Ghost Whisperer retread has much more moody potential.
  21. 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.
  22. While some attempts to recall the tenor of the times feel strained, there are intriguing moments in the generational, racial and sexual clashes swirling around the central story. Unfortunately, whenever the show meanders its way back to that central story of Manson and Emma and their newly formed family, momentum stalls and interest drains.
  23. Collectively, Inconceivable seems a bit desperate and confused.
  24. When Resurrection focuses on Jacob and his family, the actors and the concept carry it. But hours must be filled, and the more the show expands to include other Arcadians, most of whom are tiresome, the weaker it becomes.
  25. Yes, the additions sometimes feel shoehorned in, and, as in The Bible, the storytelling gears still sometimes clunk. But anyone who loved The Bible and yearned for a sequel is likely to find A.D. satisfying.
  26. Ordinary just feels too crowded, as if it's straining to serve too many genre masters at once. Still, there is pleasure to be found, much of it provided by Chiklis.
  27. The show's attempt to turn Oz's "I'll allow it" into a catchphrase is a bit tiresome, but otherwise, the characters and the plot twists combine to make the time pass painlessly.
  28. 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
  29. The show may be able to relax into the kind of easy weekly entertainment you can find an hour earlier on Bones.
  30. Caught in this Kafkaesque nightmare, Phillippe struggles to retain some sense of reality, and he almost achieves it. But the script and his fellow actors derail him at every turn, and what begins as disquieting quickly morphs into comical.

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