Wall Street Journal's Scores

For 423 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 The Sopranos: Season 6
Lowest review score: 10 Category 7: The End of the World: Season 1
Score distribution:
  1. Mixed: 0 out of 302
  2. Negative: 0 out of 302
302 tv reviews
  1. Deception scores a point or two higher than the estimable "Revenge" in some regards. The atmosphere is darker, the story less outlandish, if only slightly, and Ms. Good's heroine boasts an attractively firm moral center.
  2. This is a different series, one whose good start has to do with its capacity to be affecting, which it is in its picture of loss and longing--a sense this young Carrie projects persuasively.
  3. The tapestry of characters in George R.R. Martin's fantasy kingdom has grown so huge now that only the most avid fan can hope to identify them all, let alone keep track of the family ties, alliances and enmities which make this quasimedieval world so dangerous to nearly everyone in it.
  4. [The Renaissance and Leonardo] bring moments of transcendent beauty to the series, which was written by David S. Goyer, and is laced with aha moments of glorious invention and the scent of mysticism. The line between mystery and bafflement is a thin one, though, and at times it is impossible to tell what's going on or who's who in the flickering torchlight. There is also a distraction, at least initially, in the portrayal of Leonardo--who comes across as a weird amalgam of Peter Pan, MacGyver and a Chippendale.
  5. A marvelously complex atmosphere of wartime tension hovers over the peacetime lives of these characters--no small saving grace in a script that includes the hunt for yet another tiresome serial killer/rapist with strange sexual tastes, now a staple of British television mysteries.
  6. While the show is full of comic highs and witty insight, it isn't funny all the time because some of the jokes are disappointingly crude.
  7. Ms. Heche's Beth is just madly menacing enough to keep things interesting.
  8. The new Killing appears to have taken a sharp turn from the kind of emotional life that enriched the last season, with its drama of a disappeared daughter. In its portrait of family grief, beautifully nuanced to the end, the series landed a dramatic punch more potent than that of the key question, "Who killed Rosie?" Itself a mystery of considerable power, and one that the latest chapter of The Killing will have to go some way to equal.
  9. The humans are still mostly good guys. Their dilemmas and antics--including blowing up a nuclear plant and giving birth to an infant who can stand up in her crib a few hours later--remain fun to watch.
  10. The sets are somewhat spartan, and the cast of investigators almost uniformly young and good looking (a token geezer gets eviscerated early on), never a good sign if big budgets and verisimilitude are your thing. Yet the animals that matter look terrifyingly real, and the prospect of watching the human cast try to put the ferocious visitors back where they came from before "history unravels" is exciting.
  11. It's a straightforward story of iron determination to succeed against the odds—the options for drilling are now risky, and a failure means the loss of half a million dollars. But it is, beside that, a picture of a family, a portrait limited in its detail but dramatic nonetheless in its evidence of the tense relationship between the assured and driven CJ and his younger, college-educated brother.
  12. As show titles go, Naked and Afraid is inspired. Better still, the new Discovery series is even more entertaining than its title.
    • 65 Metascore
    • 70 Critic Score
    [Has an] intimate, ensemble feel, without grandstanding or fussiness or mugginess. It keeps the four feeling like good company for a half-hour. [4 Aug 2005]
  13. This relaxing series about small-town lives is as burden-free as a day on the beach with an umbrella, a book and a breeze.
  14. With the second and third episodes ever more predictable, and, not least, with Martha's character gone flat under the weight of a preening righteousness. If bad scriptwriting were a prosecutable offense, Ms. Peake might have a case here. Still, episode one of Silk is smartly written and highly entertaining--a treat, in short, and at two hours a sumptuous one.
  15. Cold Justice is about simple people in forgotten places, a far cry from the rich New York socialites and corporate villains of an entertainment like "Law & Order." Yet with real pain comes the promise of real closure.
  16. Some fans of the series--created by Frank Darabont and based on the comic-books by Robert Kirkman, who is a writer and producer for the television show--would prefer more combat and less talking.
  17. Like the book on which it is based, Killing Kennedy sticks pretty much to knowable facts. While this means some suspicions are not ruled out, Oswald is depicted as acting on his own--and seems able to get off several shots quickly--so there is no grassy knoll, etc. Think of it as a Cliffs Notes version of the Warren Commission.
  18. By the end of a few episodes everything meshes nicely, and the prospect of watching more has become enticing.
  19. Will is so apparently happy that most of the pathos inherent in his arrested development will have to be supplied by the viewer. But there is uplift in the theme. A man whose life is passing him by has a chance to stop being useless and search for the origins of true joy--and a little child shall lead him. Even if there are not too many creative surprises here, it's a journey that never loses its appeal.
  20. There's a strange sense of distance in the picture here of a decade not exactly in the remote past, but there's also something sweetly enticing about its portrayal of relative innocence.
  21. You don't have to be under 30 to enjoy this. It's no more, or less, ridiculous than ABC's massively-hyped hit about sex, love and secrets among housewives and other oldsters.
  22. After the male action sequences, alas, the feminine interludes tend to be soporific.
  23. Ultimately, though, it's not what happens to the folks on this show that is so revealing. It's what goes on in our own minds as we watch and listen to them try to navigate the shoals of racial differences.
  24. It requires a certain patience to stay with "Thief."
  25. The language in "Huff" is still graphic and foul. What redeems it, as always, is the artful acting and occasional small scenes of quiet beauty.
  26. The writers deploy the savant protagonist's gift so cleverly in moving the plot along, we wonder why they can't lend more nuance to the characters.
  27. There are entirely too many convenient coincidences, car accidents, Acts of God and gang-related atrocities for one insular neighborhood, and the violence starts to feel contrived, even gratuitous.
  28. The pilot moves along at a cracking pace, introducing new clues and characters and settings so fast that it's very tempting to sit back and enjoy the ride, ludicrous though some of it may be.
  29. "Justice" chugs along nicely, its plots gratifyingly tense, its dialogue sharp and uncluttered.