Wall Street Journal's Scores

For 609 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Bleak House: Season 1
Lowest review score: 10 Category 7: The End of the World: Season 1
Score distribution:
  1. Mixed: 0 out of 433
  2. Negative: 0 out of 433
433 tv reviews
  1. Its smartness comes shining through despite the claptrap (none worse than the parade of sex scenes, soft-porn variety, whose noisiness is exceeded only by their unconvincingness); its story, littered with intriguingly repellent characters, like Kai Proctor (Ulrich Thomsen), local evil tycoon, grows ever more enticing.
  2. The TV series picks up perfectly where the movie left off, adding spice along the way.
  3. These are, in short, characters with a long literary-and Hollywood-pedigree. Which makes all the more impressive the vividness and mystery they bring to this series (adapted by Andrew Davies from a 1936 novel by Winifred Holtby)--thanks, needless to say, to extraordinarily seductive performances.
  4. This is Southland, where the emotional underpinnings of the main characters give the show its outstanding grace and depth.
  5. [A] smartly ordered, sizzling drama, which establishes itself from the opening scene and builds from there.
  6. Silicon Valley, the latest creation of Mike Judge ("Office Space," "King of the Hill"), gets off to a rough start Sunday night; one might say it tries too hard. But it's certainly worth the 30-minute expenditure, because well before Episode 5 it's in a comedic groove and seems destined to run beyond the eight-week run HBO currently has planned.
  7. A wonderfully diverting film with Mr. David at his abrasive best.
  8. As painful as it is to see a fallen dog's body draped in the American flag, what Glory Dogs also does is deepen our appreciation for the servicemen who train them.
  9. This hour [is] packed with Mr. Brooks at his most endearing.
  10. As the denizens of K-Ville move among the ruins of the city, the real and the fake merge until you forget that this is mere entertainment. It's a new experience, and an invigorating one.
  11. "House of Cards" is not without its flaws -- the occasionally heavy dribblings of symbolism, for instance, as exemplified by the regular appearance of gnawing rats. We could have figured out, without the rats, that this is black comedy. The last episode, further, is so written as to produce an Urquhart of considerably flattened character. By this time, however, it has been a superb ride for so long that no one will care. [25 Mar 1991]
    • Wall Street Journal
  12. A dark but artful and sophisticated drama.
  13. A sharply drawn and riveting one from the evidence on hand, and bolstered by a skilled cast. This club should lure plenty of customers, television-viewing variety. They'll have good reason.
  14. Once past an introductory flow of steamy images--plenty of stripping and unzipping, couplings in darkened rooms--it takes no time to recognize the quality in this sharply written and entertaining saga of four women destined to lead exceedingly complicated lives.
  15. Prattle is, in any case, a minor note compared with the crackling pace of the first script, its evocative mood of menace at every turn, each police car racing to destinations that will reveal who knows what tragedy or unspeakable sight.
  16. Four episodes of Life on Mars have by now aired, each livelier and more confident than the last and--despite its mush of a lead character--justifiably so. That's no small triumph.
  17. Although their characters are as vivid as they are distinctive, these two interact so effortlessly, in conversation and body language, it's easy to forget they are just acting. And inside these "lost boys" are real men struggling to get out.
  18. This is a more intimate series, with extended looks at the personal relationships of the characters (the connection between Kizzy and her master’s niece, who grew up together, is just one example). It’s also a gorier series—yes, showing all the abuse put to slaves, but also showing many of the perpetrators of that violence getting their comeuppance. Added to flashbacks and spiritually charged dreams, this lends the show an occasional shade of magical realism.
  19. It's one that's sharply plotted, fast-paced, with impressive performances.
  20. There's considerable charm in this medical-drama concoction, which comes with the usual generous supply of spectacular brain disorders nobody you know will ever get--and in Mr. Pasquale's Dr. Cole, a confident, dedicated surgeon.
  21. The omniscient-narrator device works very well for a complex story spanning many years and varied sets of players.
  22. As odd as poor Norman is, there's something about Norma that gives Bates Motel its true, and truly frightening, center. Vulnerable and malign, Ms. Farmiga pretty much nails it.
  23. It's a bit old-fashioned, which in today's TV universe makes it seem light and fresh--like the entrancing Ms. Applegate herself.
  24. If Welcome to the Captain can sustain its tone of tender quirkiness, it may find an appreciate audience stretching from those who loved "Arrested Development" to fans of "My Name Is Earl."
  25. A suspense story enriched by its psychological dimension and three quietly compelling performances.
  26. Jokes like that ["You gonna go all 'Twilight' on me?"] and the wisecracking Sally occasionally threaten to turn Being Human into a mild, campy thing. As we get to know the characters, however, and begin to identify with their sense of loss and isolation, humor helps make what is preposterous about their situation seem real.
  27. After the stage-setting of the first two episodes, however, Looking becomes less frenetic and begins building emotional resonance.
  28. [Schwimmer's] the great strength of the series, along with Mr. Sturgess, whose Dion is a commanding portrait of endless faith in his dream, to say nothing of endless resilience. ... [A] beguiling tale whose kitchen scenes and gourmet dish preparations provide the ultimate sizzle.
  29. Making, and enjoying, a commitment to watch Showtime's new dramedy The Big C requires a deliberate decision to ignore nagging questions. Such as: Why are so many of the TV and cinematic cancer stories of the past few decades about women? And in an era when more and more of us know someone with cancer, or have experienced it directly, does that mean that we are now ready to embrace the subject as entertainment? Dwell too long on those questions, and what is good about The Big C may pass you by.
  30. The suspense is ripping, the combat violent, in its own peculiarly satisfying way.

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