Wall Street Journal's Scores

For 511 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 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Big Love: Season 5
Lowest review score: 10 Category 7: The End of the World: Season 1
Score distribution:
  1. Mixed: 0 out of 365
  2. Negative: 0 out of 365
365 tv reviews
  1. An escapist, absurdist universe of barely credible plots, stellar GPAs and flawless faces.
  2. [Why do] The husbands come across as total bums? Not just because of the way they lounge around all day moaning about how hard (sniff) it is (sniff) not to be able to provide for their family. They dress like bums, too.
  3. The series might be more fun if "jobmother" Hayley Taylor didn't have to stop each time she utters a harsh truth and comfort an angry or weeping spouse.
  4. True Deetective is both underwritten and over-plotted.
  5. Yes, it's all fairly formulaic.
  6. When not trapped in the effort to wring excitement from Fleming's adventurous sex life, the series rolls on compellingly with his spying adventures, his role in creating a special operations unit.
  7. The miniseries itself never quite reaches dramatic liftoff. Could be the know-how-it-ends curse of biopics at work. Or perhaps it's because it is so difficult to spare time and emotion for a couple of punks.
  8. SEAL Team Six offers no new revelations, and the plot's factual background will be familiar to most viewers.
  9. The result is ridiculous; but it's far more amusing than Hollywood Squares, which is where other formerly famous go to die.
  10. Nothing much new here, although there's always another case for the audience to watch Laura solve.
  11. Kings, which also serves up melodrama and mystical happenings, is far more ambitious [than Aaron Spellings' shows]. Yet it can have the effect of a real sleep potion.
  12. The series manages to maintain a certain melodramatic tension, at least from the evidence of the pilot, but it could be hard to overcome the sledgehammer cynicism and mess of nefarious plot turns.
  13. It's a far superior piece of filmmaking [than Encore's Hindenburg: The Last Flight], impressive in its special effects, its dramatic displays of technical know-how in the face of unthinkable catastrophe caused, you will not be surprised to learn, by an avaricious driller.... The cookie-cutter quality of the sermonizing in these films is hard to miss.
  14. A docudrama, the REELZ film finds its focus in ballistics talk, much of it intriguing, and ballistics tests. Better yet, it manages to maintain a certain suspense--that having to do with the wait for the inevitable other shoe to fall. The time that invariably arrives in films of this kind, when documentary moves on to derangement.
  15. It is, in short, a busy, fearlessly idealistic president (Martin Sheen) who struts through the neatly packaged, frequently deft and invariably predictable first episode of NBC's The West Wing, If the series continues at this level -- continues, that is, being handsomely produced, polished and thoroughly unexceptional in its content and aspirations, it should stand a very good chance of winning a bunch of Emmys. [22 Sept 1999, p.A32]
    • Wall Street Journal
  16. The writing could be sharper, the vision less soft-headed.... That aside, there's no mistaking the sense of life and vitality that comes bouncing out of this series, or its cause -- namely, its two stars.
  17. Although the theme of toxic corporate greed is still there, the elongating of the story into many hours and the flattening of some mysteries for clarity on television may annoy devotees of the feature film.
  18. It has its strengths--most of them derived from the skilled cast--but none related to any capacity for originality.
  19. [The show is] so tame, in fact, that viewers may be forgiven for hoping, against their better instincts, that things get a little wilder, if not more wanton, down the road.
  20. It has one thing going for it--the essential thing. That is, deft writing that yields the kind of suspense that causes people to want to know what comes next. That's no small achievement for a series whose characters are so entirely devoid of, yes, character--or anything resembling an interesting thought.
  21. "10.5: Apocalypse," is visually dazzling, relentlessly hysterical and also a sequel, which means that most viewers sitting down to watch it know what they're getting into. That should damp down any untoward expectations -- the appearance of a believable character, for instance, or piece of dialogue, neither of which, be assured, is to be found here.
  22. There is a lot that is ridiculous here.
  23. That no one acts in a manner remotely plausible during Murder in the First, regarding either the law or human life, will have viewers feeling like they're just being moved through the system.
  24. Amid memorable villains, Dickens always gave us someone to like and root for. It's hard to find anyone to cheer on here.
  25. She's not funny, the aide is told--a line that elicited in this viewer a stream of unstoppable thoughts about what was not funny about this show, which is a lot, all of which ended up pointing, inexorably, to its writers. What saves the show is Ms. Louis-Dreyfus's Selina.
  26. After just one episode, I was interested enough to make a mental note to watch the final one someday, just to see who won and what the race was all about. People with more time on their hands and a tolerance for utter implausibility may choose to make the whole journey.
  27. There is no edge to Dancing on Edge, a drama sunk by its pretensions--one, to be sure, that does come clanking to life somewhat in a madly melodramatic final episode. A long wait, for little.
  28. A situation brimming with the potential for suspense, and irony. Those may yet emerge, if only someone produces a script to make it possible. For the moment, all that is brimming here is the evidence of an ill-advised faith in the drawing power of depressive police dramas.
  29. Sex Box breaks no meaningful boundaries in its first two episodes. The average music video is more titillating.
  30. Ms. Hunt gets some humorous lines, and the banter between partners Callen and Hanna can make them seem like a new-age Starsky and Hutch.

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