USA Today's Scores

For 797 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 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Modern Family: Season 2
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 478
  2. Negative: 0 out of 478
478 tv reviews
  1. Fun is notably absent from Side Order, which strains to be both quippy and profound.
  2. Unfortunately, the project is too short to do its subject matter justice and too long and clumsy to keep us involved--a problem compounded by Chris O'Donnell's boyishly bland performance as The Company's central agent.
  3. As much as CBS may yearn for the days of J.R. and Bobby Ewing, those days have passed, and you certainly can't bring then back with a show that feels more dated than "Dallas."
  4. All is fine, if not as good as it had been.
  5. Even at its sporadic best, In Treatment comes across as no more than an actor's exercise, one likely to be best remembered for providing future acting students with a large supply of two-character scenes for class projects.
  6. This may be a show about young adults, but there are older adults in charge. And we've come to expect better from them.
  7. The trouble for Becky and her show is that she really knows nothing, which vitiates what could have been an interesting concept.
  8. Unfortunately, the new plots continually intrude, dissipating tension and making an already complicated story too convoluted to follow.
  9. The writers overplay the banter and allow Mary to become so harsh, you wonder why even the most devoted partner puts up with her. But for the most part, as long as McCormack and Weller are together, or sharing time with their boss (Paul Ben-Victor), the show functions as harmless hot-weather pleasure.
  10. Simultaneously overdone and underproduced, the movie jerks its way from point to point without bothering to explain the characters' behavior or inject any life into its musical numbers.
  11. The interplay among the main characters is by and large unaltered, and for some fans that will be enough. For others, though, what was once a summer pleasure is now a bit less pleasurable.
  12. Unfortunately, when the show wanders off to the personality-deprived supporting characters, it collapses.
  13. For the first hour, the sheer silly energy of the contraptions and the appeal of the two stars carry Crusoe along. But you may find yourself tiring of plot holes you can steer a galleon through and the second-rate nature of much of the cast, and wondering how you make a series out of two people trapped on a deserted island.
  14. Templar is done in by being both too late and too long. At two hours it might have worked.
  15. "Mad Men" is the genre's gold standard, and the inevitable thematic comparisons just accentuates Trust Me's flaws, making the show seem even more dispensable.
  16. It faces the standard problem of all anthologies, which have to interest us in new characters each week. But it also ties those stories to two recurring characters who are better off avoided, leaving you torn between the ones you don't know and the ones you don't like.
  17. Suburbia isn't the worst show you've ever seen. It may not even be the worst show you could watch tonight in this time slot. But it is among the least-memorable.
  18. Though there is great appeal in the idea of a selfish man suddenly seeing beyond himself to the suffering around him, there is also more than a whiff of Rudyard Kipling's "white man's burden" in the way the story is told.
  19. Though the debut is weak, it's still possible the series will improve as the setup recedes and new post-pilot writers chime in (including Titus' Jack Kenny).
  20. The episode is clearly constructed as a showcase for Laurie--who is seemingly incapable of a boring performance--but the writers really haven't done him much of a favor. There are too many beats that refuse to be reconciled; too many times when House is forced to behave absurdly badly to get what he wants, just to backtrack when he gets it.
  21. Again, if you loved all things Battlestar beyond measure, Caprica may satisfy. For all others, this is a planet best left unvisited.
  22. Rather than balance, what you get from Filth is a gratingly smug superiority that mocks both sides while failing to make any point of its own.
  23. As games go, this isn't a bad one. But unlike horror movies, the Fear doesn't feel real, and the show is nothing special.
  24. Parks never expends enough energy to even approach funny, but even if it were more amusing, that sour whiff of gratuitous cruelty would still linger.
  25. It may lack Melrose Place's flashy production values and trashy pedigree, but it makes up for that by being marginally better written, though admittedly, we're not talking about a particularly high bar here.
  26. Overly precious and indifferently cast, this latest attempt to adapt John Updike's novel feels recycled and flat on every level.
  27. It just doesn't seem the best fit for Grammer. He's playing a character who's as pompous as Frasier but with less justification, less heart, less wit--and less able support.
  28. 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.
  29. 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.
  30. Unfortunately, whenever the show wanders beyond Graham and Nelson to the generally bland characters around them, your mind may wander as well.

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