USA Today's Scores

For 1,062 reviews, this publication has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Rescue Me: Season 5
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 629
  2. Negative: 0 out of 629
629 tv reviews
  1. There are times, it's true, when a little more narrative urgency might have been nice. Still, in a summer where few series seem to have captured the viewing public’s imagination, speed may not be too much to sacrifice. So go slow. This Night is worth it.
  2. Driven by Glover’s charm and throwaway wit, Atlanta both compels and mystifies.
  3. It is also stunning, compelling and thoroughly, empathetically human. [14 Apr 2000, p.11E]
    • USA Today
  4. With Denis Leary's return as Tommy Gavin in FX's Rescue Me, viewers have hit the summer trifecta: the best actor playing the best character in the best show on basic cable.
  5. Against all odds, this tightly written, sometimes stunningly performed 10-part drama avoids all those pitfalls, capturing the tenor of the time and breathing life into the participants. Not to mention re-creating a crackling good courtroom drama that fiction can only envy.
  6. This is a sprawling, exciting, blood-soaked story, filled with great set pieces and wonderful actors.
  7. As you'd hope from a show based on Elmore Leonard's work, the plots snap, the dialogue crackles and--to press on with the point--the characters pop.
  8. Of a handful of promising new series this season, only one shows the promise of greatness: Boomtown.
  9. This is a series chock full of great characters, male and female, that exudes wit, intelligence and a palpable desire to entertain. It’s possible, of course, that this latest Fargo will sag in the middle or fall apart at the end. But neither of the other two seasons did, so here's betting this one won’t either.
  10. A quietly captivating miniseries about a seldom-quiet woman.
  11. This is 24 at its fast, furious, exaggerated best, filled with well-drawn subsidiary characters and rapid-fire surprises, all held in place by Kiefer Sutherland's great, under-sung performance as Jack.
  12. As you might expect from an experimental show that is doing its best to misbehave, there are times when Arrested goes too far. I could live without George Michael's crush on his first cousin, a story given more prominence in a future episode when it really needs less. But for now, I'd say stick with the Bluths, even when their behavior is more alarming than arresting. At least they're not dull. And this season, that's a development worth encouraging.
  13. 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.
  14. 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.
  15. 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.
  16. It is, in short, a show about real life, as seen through the eyes of one of the funniest men in America.
  17. 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]
    • USA Today
  18. 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.
  19. 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.
  20. Don't let that "intimate" description mislead you--Franklin's infidelity is documented, but not detailed, and the show takes no stance on Eleanor's sexuality beyond making it clear that the subject is more complicated than some may assume. As were these people, and as is this completely splendid documentary.
  21. 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.
  22. 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]
    • USA Today
  23. 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]
    • USA Today
  24. 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]
    • USA Today
  25. 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.
  26. 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.
  27. 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]
    • USA Today
  28. 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]
    • USA Today
  29. Let Lost remind you of how spectacular scripted network programming can be.
  30. 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.

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