USA Today's Scores

For 740 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 0.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Mad Men: Season 3
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. While it will no doubt settle back into its normal pattern, the first two episodes have been a bit busy--and a little light on the courtroom drama side of things.
  2. There's humanity in its victims and dark humor in the goal-oriented drive of its villains. With or without a strike, this is a show to treasure.
  3. They've richly re-created a Roaring '20s world on the edge of an ocean and a precipice, and populated it with a riveting rogues gallery.
  4. It is, in short, a show about real life, as seen through the eyes of one of the funniest men in America.
  5. This is a sprawling, exciting, blood-soaked story, filled with great set pieces and wonderful actors.
  6. So all is well until the story takes a melodramatic turn that seems so out of character for this starkly realistic show, you have to wonder if it was imposed by the network or the studio to create buzz. Nevertheless, this is a terrific series with proven writers and actors. I'm willing to wait and see where they go next. [5 Oct 2007, p.2E]
  7. There's still fun to be had in the visual manifestations of Sherlock's thought process, for example, but there are times when you fear what they're really doing is filling time. Yet thanks to the stars, the wit of the writing and a few clever tricks, the show remains a joy.
  8. Brooklyn Bridge is a show to love, not merely to watch. A sentimental knockout, it's a valentine rooted in the warm glow of a specific place and bygone time, yet oddly universal and relevant. [20 Sep 1991]
  9. This is such a gorgeous show to watch (at least for anyone fond of mid-'60s clothes and design) that it's easy to forget how beautifully these actors play their roles and how true-to-life they and the writers make these characters seem.
  10. what these two characters, so fabulously played by Keri Russell and Matthew Rhys, are about to realize as this excellent series returns is that their jobs put their children at risk.
  11. Expertly cut and polished until it practically gleams, 24 is like a flawless diamond: stylish, multifaceted and so sharp that it could cut glass. Everything clicks, from the hip sets to the whip-smart direction to the ever-shifting split screen that imbues even mundane activities such as talking on the phone with an unexpected urgency. [6 Nov 2001]
  12. In mere minutes and with a few instantly evocative images, Freaks draws its characters more precisely than some shows do in a season. [24 Sept 1999, p.11E]
  13. For all its flights of fancy and its meta-jokes (most of them ably put across by Danny Pudi), the show still allows us to invest in Joel McHale's Jeff and his journey to self-improvement. Yet in its search for a plot, Community often seems to send Jeff back to square one so he can be redeemed all over again.
  14. Terrifically acted and gorgeously produced, this is a show that's both funny and frightening, that can simultaneously make you miss the '60s and feel blessed that they're gone.
  15. Malcolm recalls Roseanne's maternal drive, The Simpsons' cartoon exaggerations, and a blue-collar sensibility and emotional honesty common to both. And if tonight's outstanding premiere tries too hard for its own good to stand out, even that flaw subsides in later episodes. [7 Jan 2000]
  16. Is Lights the show it was when it began? No. But it's still better than most anything else on the TV field.
  17. The Sopranos would have benefited from the editing required by network time and content restraints, which would have made the rambling episodes tighter and cleared them of their worst blood and exposed-breast excesses. [8 Jan 1999, p.8E]
  18. Treme tells its story incredibly well, but it just may not be a story everyone wants to follow. Some will hear its music and some won't. But if you do, this could be the rare TV show that makes you dance.
  19. There is always meaning to Mad Men's madness and passion under its control, along with an uncommon level of style, flair and wit. On a TV shelf crowded with cookie-cutter products, Mad Men is an original.
  20. Let Lost remind you of how spectacular scripted network programming can be.
  21. What the cuts can't remove is the chemistry between Cavanagh and Bowen. They're a lovably winning couple in a completely winning new show. [6 Oct 2000, p.1E]
  22. I'd also like to see the show adopt a somewhat lighter tone -- though I fear the ring of somber self-importance may be perfectly pitched for teens. [29 Sept 1998, p.3D]
  23. What separates Fargo is the depth of its characterizations and the individuality of its approach.
  24. Dunham's simply writing what she knows, and incredibly well.
  25. The best of the bunch, and the best new series of the fall, comes first.
  26. If you think of it less as a mystery and more as a two-person character study, odds are you'll be more patient with it. And trust me, that patience will be rewarded.
  27. An equally spectacular, equally triumphant yet tonally divergent work that stands with "Band of Brothers" as the best war movie ever made for TV.
  28. Out of these familiar adventure-story components and a host of pop-culture conventions, Alias' J.J. Abrams has fashioned a totally original, fabulously enjoyable lost-at-sea series. Once again, he has taken an outlandish Saturday-serial setup and imbued it with real characters and honest emotions, without sacrificing any of the old-fashioned fun.
  29. Band of Brothers is significantly flawed and yet absolutely extraordinary -- just like the men it portrays. [7 Sept 2001, p.1E]
  30. Top of the Lake is rivetingly odd, almost oppressively atmospheric and thoroughly entrancing.