USA Today's Scores

For 741 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 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Invasion: Season 1
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 453
  2. Negative: 0 out of 453
453 tv reviews
  1. Three Rivers tries to work around the failings of its script through quick cuts and colored gels, but they're a vain attempt to build excitement where none exists.
  2. There's no denying that Spartacus does what it sets out to do fairly well--and in a way that doesn't duplicate anything else now on TV. Were it broadcast free over the air where children might find it, one might blanch, but that's not the case.
  3. Unfortunately, whenever the show wanders beyond Graham and Nelson to the generally bland characters around them, your mind may wander as well.
  4. There are some humorous moments and decent lines. But overall, the joke has such a nasty, frantic edge, it's hard to care which way the punch line lands.
  5. Scoundrels at least can brag about a good performance from a fine actress, Virginia Madsen, though....It's hard to care about Cheryl's efforts to save her children when the kids are so dull, and hard to care about her marriage when her husband appears to be badly miscast.
  6. If only it felt inspired, rather than like a Desperate Weirdwives rehash of every vampire, werewolf and witch story you've ever heard and every family soap you've seen.
  7. To the extent style points count, Rubicon looks good and boasts a fine cast, including Oscar nominee Miranda Richardson. They work hard, but the more they and their show strain for taut, the more limp the program becomes. And for viewers, that's a very hard bridge to cross.
  8. Underneath all the excess and that premium-cable drive to be more-clever-and-shocking-than-thou, there is a core of truth in the story of a mother desperate to reconnect with--and actually raise--her son before she dies. Give us that show, and we might be willing to accept the wacky-but-wise neighbor and the tough fat girl with the soft heart. You brought a great actor to TV, Big C. Use her or lose her.
  9. So what you get from Hellcats is a wildly derivative wish-fulfillment view of college life made to appeal to junior-high girls, most of whom are too young to recognize how many shows and movies Hellcats has appropriated.
  10. It's TV at its least challenging, but it has an incredibly gorgeous setting, a pre-sold concept, a cushy time slot, a solid supporting cast and a starmaking turn by Caan.
  11. Arnett imbues him with the same amusingly creepy patina that works well for him on Arrested and 30 Rock but works against him here. Unfortunately, Russell fares little better. She's never looked lovelier, but the writers made the character too self-righteous to be attractive.
  12. For all the show's flaws, you can see the attraction for an actor of Macy's quality, with the kind of showy, outsized role that wins awards. But as fine an actor as he is, Frank just comes across as loud and empty. Much like Shameless.
  13. Heartbreakingly enough, "bland" is the best you can expect from Mad Love, a mediocre example of TV's most overworked, underproductive sitcom subset, the romantic comedy.
  14. Breakout Kings is an uninspiring attempt by the producers and their network to be the last on the procedural match.
  15. Extending for five hours over three weekly segments, this luxuriously produced miniseries is so gorgeous, even in its re-creation of the Depression, that it practically shimmers. It's also slow to the point where "languid" doesn't even begin to do it justice.
  16. The Kennedys has nothing much new to tell, and tells it over and over again.
  17. Like so many networks shows this season, it asks us to settle for "not bad" when what we want is "good."
  18. The problem with Roughness is that the characters and their interactions ring totally, ridiculously false--which is kind of funny, because unlike those other shows [Covert Affairs or White Collar], this one was inspired by a true story.
  19. You end up with a visually uninteresting half-hour filled with rambling conversations, as the actors struggle to advance what little story there is while slipping in the all-too-occasional funny remark.
  20. Too many of the lines are witlessly vulgar (A "mug of butt"? Really?), and too few are funny.
  21. What they get is Diaries' less attractive little sister, one that, beneath all the witchcraft, is just another CW teen-driven soap.
  22. The main character is too loud, too dominant and far too central; the lines all sound as if they were written to be delivered by a performer rather than spoken in conversation; and the supporting characters are ciphers who exist merely to reflect or foil the star.
  23. Give Maria Bello credit, if you like, for having the courage to take on a character so indelibly linked to one of the great actors of our time, Helen Mirren--and then take it away for the ridiculously behatted mash she and the show have made of the character.
  24. As with so many stories that are held at a constant rolling boil, the excess quickly becomes funny rather than frightening.
  25. It's a sprawling story, and within that sprawl there are evocative scenes, sweeping vistas, and moments that grab you.
  26. A supremely silly series that takes itself incredibly seriously.
  27. It may be possible that, after The Sopranos, the Godfather films and the collected works of Martin Scorsese, there is still more to say about mobsters. But nothing in Magic City would lead you to believe that's true. Looks good, though. If only that were magic enough.
  28. It's better-acted than some shows, less grating than others. Its greatest flaw is it's too familiar and predictable.
  29. What few laughs there are represent a triumph of acting skill over authorial sloth in a show that is more silly than funny--and more dull than silly.
  30. This reduction of a serious, debilitating illness to a personality quirk would be as unwatchable as it is insulting were it not for one thing: an appealingly disheveled star turn from Will & Grace's Eric McCormack as Daniel.