Wall Street Journal's Scores

For 501 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 3.9 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 The Millers: Season 1
Score distribution:
  1. Mixed: 0 out of 359
  2. Negative: 0 out of 359
359 tv reviews
  1. There's enough room left in the genre for another modern pairing, and Mr. Miller and Ms. Liu bring something memorably new to each character.
  2. While the documentary doesn't view the day through rose-colored glasses, it lets us approach that time in a new, less painful way.
  3. A hard-charging, unfailingly suspenseful mystery whose tonnage of side dramas and veritable school of red herrings don’t, miraculously enough, undermine its strength. Though it is, on occasion, a close call.
  4. Impressive... Ms. Mirren leaves her authoritative stamp on the role of Elizabeth.
  5. What makes this a standout family show is not the absence of dirty words. Who needs those when there's an abundance of eccentric humor and bright writing?
  6. It's far more beautiful than its predecessors.
  7. It has cinematic production values that give it the heft of a movie, and the lead characters are so natural and believable that the alien angle is less ludicrous than usual.
  8. The unit's work was top secret, its members' experiences, recounted in this film, fascinating above all for what they tell about the determined inventiveness, the all-out ambition to try everything, characteristic of that war effort.
  9. There's plenty of life and overall quality to sustain this series for a long time to come.
  10. The series couldn't have arrived at a more timely moment for such subject matter, but there's no point looking for even-handedness or a lack thereof in a work that offers only--give or take a caustic political observation or two--exhilarating drama.
  11. No sooner has Upstairs veered toward farce than it redeems itself, again and again.
  12. Maron is short, funny and coherent.
  13. Whatever the complaints about the movie, it brings home, as few films on such themes ever do, the terrors of accusation and conviction.
  14. We may have seen film of migrating wildebeest and zebras on the Serengeti before. But Great Migrations looks at everything from new and spectacularly beautiful angles.
  15. There is enough lively (if sometimes explicit) dialogue and reliable sexual appeal in all this to keep intuitive male viewers interested.
  16. Given the filmmaker's unrestricted access to Mitt Romney through both presidential campaigns, Greg Whiteley's Mitt is an unsurprisingly warm portrait. Which isn't to say it isn't full of tensions, when not outright suffering, perceptible through all the upbeat chatter from the candidate and his wife, campaign advisers, the Romney sons and their wives.
  17. All good stuff, plus a brief but powerful moment at the end that will leave longtime "Morse" fans in an agony of nostalgia
  18. This being a made-for-television environment, no one perishes, but there are no happy endings here, either.
  19. Some of the life forms in Almost Human are artificial. The intelligence is genuine.
  20. TNT's cop drama Southland is like a hot date on a Saturday night. Just waiting for another episode to begin each week is a thrill, and once the show gets going the rush is like nothing else on TV.
  21. While the series is not without humor--including the occasional sexual witticism--it is never camp, a huge plus for devotees of genuine drama.
  22. Magnificent cinematography, abundant animal life and lovely music that may contain harmonies unique to Botswana--all these make The No. 1 Ladies' Detective Agency a distinctly foreign affair. In the end, though, what comes through most strongly is not what's different, but how easily we recognize it all.
  23. The real Messrs. Gervais and Merchant haven't lost their touch with self-humiliating characters.
  24. A six-part saga awash in fashionable gloom, set in the mountains of New Jersey, and much of the time a compelling one in its picture of the tensions between the Van Der Veens, members of an Indian tribe, and the blue-collar Jensens, headed by Harold (Martin Henderson), a police officer.
  25. That these actors can make us care about their characters, or at least feel their pain so acutely, is what elevates Getting On above the miasma of its material.
  26. Most of the people [Ed Gamble and Amy Hoggart--who pose as Georgie and Poppy Carlton] encounter seem to believe they're being filmed with real British aristos on a travel-type show about the U.S. Their surprise--and polite attempts to hide it--at the things the visitors from England say is the funniest part of the show.
  27. A series that is improving with age.
  28. After only one episode it's clear that the more we learn about each of them, the more we will want to know.
  29. 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.
  30. The plots are complex enough to sustain mystery, and if the mean streets of Toronto aren’t all that scary, this is a good thing for a show that is trying not to shock, but to entertain.

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