USA Today's Scores

For 1,086 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
  1. Mixed: 0 out of 644
  2. Negative: 0 out of 644
644 tv reviews
  1. There is no new show more likable, but that affection may waver if Betty can't give Ferrera the scripts and support she deserves.
  2. Hope, however, has more going for it than a good heart and some good lines. It has a very good cast, with Neff and Dillahunt sure to be welcome weekly presences.
  3. At heart, Angel is another Whedon treatise on the need to accept responsibility and to move past atonement to engagement. But Whedon never overemphasizes his deeper meanings, and neither should we. [5 Oct 1999, p.1D]
    • USA Today
  4. Damages is an enjoyably complex thriller.
  5. Aided by that blood and a driving, anachronistic techno-beat score, The Knick avoids the worst trap of a period piece: It isn't quaint. It's also never dull.
  6. It can't match HBO's upcoming Boardwalk Empire's budget or any network premiere's publicity push. Yet when it comes to scrappy, scruffy charm and sheer entertainment value, Terriers can run with the best of them.
  7. There are moments where Sugar's twists are too easily spotted, but there are far more times when the show, and the spirit, soar.
  8. It establishes the main character--and reintroduces us to a totally winning TV star--while creating a multilayered world that gives that character room to maneuver and grow.
  9. What's missing, unfortunately, is any attempt to explain that music--to tell us what made Smith stand out, to examine her impact on other singers, and to give us a sense of the extent of her popularity. And yet, while those flaws are not unimportant, they're also unlikely to be what you'll remember most. No, that will be Latifah, glowing with pleasure after a song well sung, screaming with agony after another betrayal, risking and exposing everything as a performer. She's a star, born yet again.
  10. With a sure and witty touch, Will captures the way gay men and their straight female friends make an asset of their gender differences and romantic similarities. [21 Sep 1998]
    • USA Today
  11. There are some very funny moments in the first of tonight's two episodes, most of them provided by Wu and Park, and fleeting indications that Fresh could be a better, deeper show than the one we're seeing.
  12. You don't get the same kind of fun, gizmo fascination that livens up CSI. But you also don't get the leaden, expositionary dialogue CSI uses to explain those gizmos. [26 Sep 2002]
    • USA Today
  13. There are great performances from Gedrick and Dunn as leaders of a gambling quartet, and good work all around.
  14. 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.
  15. She's a smart, funny, eccentric elitist who isn't afraid to tell us what she thinks of us or herself. Listen with an open mind, and you should find her sometimes scathing honesty is bracing rather than off-putting.
  16. This is one House call worth making.
  17. Startling incidents, odd coincidences and sudden turns of fate abound, sometimes to a ridiculous extent.
  18. Teeming with rich characters and terrific actors, brimming with wit, drama and unexpected urgency, Studio 60 brings its workplace to full, immensely entertaining life.
  19. Cougar tends to start out big and a bit nasty, then pull back for a gentler finish. The problem may be that many viewers pull out before it gets there.
  20. It was kinetically staged and inventively shot by Thomas Kail, the director of the brilliant Broadway sensation Hamilton, who spread the show across multiple stages and filled every musical number with flash and surprise. Yet it was often so flatly acted, those musical numbers came as a much-needed relief.
  21. In Ray and Mickey, producer Ann Biderman has created two of TV's most interesting characters and one of its most absorbing dynamics.
  22. Yet for every misstep, there’s a moment from Graham or Bledel that makes you laugh or breaks your heart, or that cuts through the cuteness to ring absolutely true. And even at its most exasperating (as with those infamous “final four words”), there is so much talent and charm on display, you’re likely to be in a forgiving mood.
    • 75 Metascore
    • 88 Critic Score
    Love, betrayal, despair, redemption, reconciliation. All of the elements expected of any epic love story are included. The distinction here: The story is splendidly retold.
  23. An intriguing, brainy but strangely unappealing catalog of short film pieces, the sort of nervy, smug spoofs that NBC's Saturday Night Live specializes in. [25 Sep 1992]
    • USA Today
  24. It may be formula, but one where all the elements reliably click. [16 Sep 1992]
    • USA Today
  25. Happily, this is a carefully adapted, clearly enunciated As You Like It that retains the beauty of the dialogue while making the meanings clear.
  26. The cast is uniformly first-rate, but the real star here seems to be Sonnenfeld. He brings to Maximum Bob the same gleeful affection for strange characters and dark humor that enlivened his movies -- and that will be on display in the fall in his Fantasy Island update. [4 Aug 1998, p.1D]
    • USA Today
  27. Whatever deeper point is being made here is obscured both by Lies' labored attempts to keep us guessing about the murder and, paradoxically enough, by the same star power that makes it worth watching in the first place. Still, assuming you're willing to sit through yet another story about the sad travails of rich, spoiled people, there is entertainment value to be found in the feuds and the gloss.
  28. Jackie can be a dark show, and it's going to get darker. But there isn't an episode that doesn't leave you yearning to see the next. There also isn't a performance that doesn't work.
  29. There are some heavy messages entangled there, but the pilot treads lightly and moves swiftly, quickly establishing the evil force Kara will have to fight and the team she'll have by her side. Yet it also leaves room for a little ambiguity about the wisdom of depending on superheroes. The cast (which includes myth-appropriate cameos from Dean Cain and Helen Slater) is good throughout, with Brooks and Jordan suitably supportive and Flockhart seemingly relishing her Devil Wears Prada role.

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