USA Today's Scores

For 923 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 Downton Abbey: Season 1
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 546
  2. Negative: 0 out of 546
546 tv reviews
  1. Bar is so slow to start, it might as well be in reverse. The first episode is, simply, flat-out terrible. Which is why, if you're a Bochco fan, you'd be wise to wait for the fourth episode, when Bar moves to mediocre.
  2. There are some well-executed effects and a few welcome flashes of humor, though those don't completely counter the overall sense of portent that fills most every "save the world" line.
  3. It would be nice if the exposition were less clunky and the show did more to capture what is special about its San Francisco setting. Still, the actors are enjoyable, and their series in large part does what it sets out to do.
  4. A cape is simply not exciting or convincing as a superhero weapon. And making constant jokes in the dialogue about the flaw isn't the same as fixing it. To its credit, The Cape is at least easier to follow than The Event and is less mythology-burdened than Heroes.
  5. A one-joke domestic sitcom redeemed by the joke's effectiveness. [17 Sep 1991]
    • USA Today
  6. Whatever one thinks of the format, the briskly paced setup is effectively done.
  7. It's a serviceable hour that takes the NCIS formula--a light tone and a lot of banter wrapped around a fairly rudimentary investigatory plot--and transfers it to a special, undercover NCIS division in Los Angeles. Nothing more, but also nothing less.
  8. With each episode, the show seems to move further from real life and the real Rome and off into some sex-crazed, soap-opera fantasy version of a place that has never, thankfully, existed before or since.
  9. The tone is ominous throughout in a show that provides its share of good jolts, including one built around the public punishment of a rule infraction that may stay with you for awhile. Unfortunately, subtlety appears to be among the many things banned in Wayward Pines--a series that comes at you weird and gets weirder as it goes along.
  10. Platinum does a decent job of establishing its world and its family, setting up the internal jealousies and exposing the undercurrents. But the show is a bit too willing to fall back on easy stereotypes (the evil tycoon, the cowardly reporter) and a bit lazy when moving the story along. Music videos are a nice diversion, but they shouldn't be used as filler to avoid plot. [14 Apr 2003]
    • USA Today
  11. Yet as often happens, tonight's premiere is far less than the sum of its parts. The tone shifts precariously from scene to scene, and Krause is too dull a presence here to tie the tones together. He has to serve as our entrant into this strange world, and in the pilot, he just seems disinterested.
  12. Seldom has a fatally flawed concept been better executed than on Law & Order: Criminal Intent.
  13. Colbert was an invaluable part of the Daily Show, but as the whole show, he's not enough and too much simultaneously.
  14. Virtuality counts as an interesting experiment, and it's better than most of the networks' summer offerings. But because there aren't likely to be answers provided by additional episodes, it can only be unequivocally recommended to Galactica acolytes and curio collectors.
  15. The result is a show that his most devoted fans will debate and embrace, and a mass audience just won't get.
  16. There are some very funny moments in the first of tonight's two episodes, most of them provided by Wu and Park, and fleeting indications that Fresh could be a better, deeper show than the one we're seeing.
  17. 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.
  18. 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
  19. 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.
  20. [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.
  21. 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.
  22. Unfortunately, [Sutherland's] disciplined performance is done in by an undisciplined show that moves too slowly to put limits on Jake's powers.
  23. 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
  24. 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
  25. The comic tone wavers, sometimes uncomfortably, between the ordinary and the absurd.
  26. While the time jump may be troubling, the real issues tarnishing the luster of this once-sterling series are a loss of focus and an increasingly heavy hand when it comes to illustrating the complexities of Master's and Johnson's odd relationship.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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