USA Today's Scores

For 843 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 Generation Kill
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 508
  2. Negative: 0 out of 508
508 tv reviews
  1. Perhaps it was too much to hope that the second season of Housewives would get off to the same kind of explosive start as the first. But we do expect the series to do more than just mark time. [10 Oct 2005]
    • USA Today
  2. The difference between a Dave Barry column and Dave's World is roughly that between a backyard cookout and drive-through fast-food...Both go down all right, but one's more savory. [20 Sept 1993, p.3D]
    • USA Today
  3. Thursday's live musical on NBC didn't always soar, but it did generally manage to stay off the ground--or at least it did when it stuck closely to the original musical. But when it wandered into new, less-enchanted territory,the production threatened to become, well, earthbound. For those moments when Peter took flight, much of the credit goes to a game performance by Allison Williams as Peter
  4. In a season where all high schools look the same, with sun-drenched campuses trolled by smart-alecky know-it-alls, Beverly Hills, 90210 looks like yet another tired breath of smoggy, sunny California air...But beyond its stock characters - the freshman dweebs, the rich deb with a new nose job, the peripheral parents, the mousy scribe - there's a sweet sister-brother bond here, on a par with the better John Hughes youth- pandering flicks. [4 Oct 1990, p.3D]
    • USA Today
  5. If you can get past the glorified and tiresome rumbles and taunts between the low-class ''greasers'' and their rich-kid rivals - the ''socs,'' pronounced ''sosh-es,'' a tribe of mostly blond pompadours - there's a sweet family drama being enacted by some unschooled heartthrobs-to-be. [23 Mar 1990, p.3D]
    • USA Today
  6. Even if you find the show odd, awful or freakish, at least it won't bore you. [29 Jan 1999]
    • USA Today
  7. Nothing works very well in this elaborate but leaden production, which seems more interested in Bob Mackie's costumes than in the characters they clothe.
  8. The sheer brazenness of its borrowed trashiness makes it oddly watchable.
  9. It's aggressively unambitious, with a sexual harassment story line having about as much impact as a new-roommate squabble over sharing peanut butter, but it's always easy on the eyes and never consequential to the intellect. [8 July 1992, p.1D]
    • USA Today
  10. 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.
  11. Alas, what must have sounded frightening on paper falls dead on-screen, done in by bad writing and terrible pacing.
  12. The show just kind of rolls along, never quite provoking you to change the channel but never providing any great reason to pay attention either.
  13. 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.
  14. Relentlessly mediocre.
  15. 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."
  16. 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.
  17. What you get from this sometimes outlandish family comedy is a sweet Ride, but one that is neither funny nor believable enough to command your loyalty.
  18. Templar is done in by being both too late and too long. At two hours it might have worked.
  19. One hopes, [Katie is] bringing us deeper and more interesting topics than first guest Jessica Simpson's current preference for chocolate over chips or tips for losing her baby weight.... Couric retains an ability to connect with the people she interviews; to seem constantly intrigued and engaged.
  20. Despite the show's constant insistence that Joe and Louis are lifelong best friends, you struggle to spot what exactly Joe and Louis see in each other.
  21. Enlisted may feel curiously dated and dangerously slight, but it's not offensive (a low bar many Fox comedies fail to reach) and it's not cynical. If nothing else, this is clearly a show with heart. Now if only it would show some sign of brains.
  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. 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.
  24. Unfortunately, none of the characters is interesting enough to paper over the holes in the plot.
  25. Timecop doesn't boggle the mind. It's merely a bog. You could write this adventure yourself. [22 Sept 1997, p.3D]
    • USA Today
  26. 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.
  27. "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.
  28. 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.
  29. 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.
  30. Passmore and Szostak give fine performances, and many viewers will no doubt appreciate having a drama that's designed to reflect modern life, without a crime or a medical crisis as a catalyst. They just might appreciate it more if it were a bit less grim and if the big plot twists felt a lot more organic.

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