Wall Street Journal's Scores

For 545 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 4.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Sherlock: Season 3
Lowest review score: 10 Prime Suspect: Season 1
Score distribution:
  1. Mixed: 0 out of 391
  2. Negative: 0 out of 391
391 tv reviews
  1. No sooner has Upstairs veered toward farce than it redeems itself, again and again.
  2. Maron is short, funny and coherent.
  3. Whatever the complaints about the movie, it brings home, as few films on such themes ever do, the terrors of accusation and conviction.
  4. 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.
  5. There is enough lively (if sometimes explicit) dialogue and reliable sexual appeal in all this to keep intuitive male viewers interested.
  6. 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.
  7. All good stuff, plus a brief but powerful moment at the end that will leave longtime "Morse" fans in an agony of nostalgia
  8. This being a made-for-television environment, no one perishes, but there are no happy endings here, either.
  9. Some of the life forms in Almost Human are artificial. The intelligence is genuine.
  10. 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.
  11. While the series is not without humor--including the occasional sexual witticism--it is never camp, a huge plus for devotees of genuine drama.
  12. 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.
  13. The real Messrs. Gervais and Merchant haven't lost their touch with self-humiliating characters.
  14. 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.
  15. 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.
  16. 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.
  17. In You, Me and the Apocalypse the destruction of the world and all life in it is imminent thanks to a comet set unalterably on a collision course with Earth. It’s a measure of the strengths of this strikingly sharp-witted comedy-drama that it’s hard to keep that looming threat of world-wide annihilation in mind, so vivid are the preoccupations of the characters racing around, fending off their private disasters.
  18. A series that is improving with age.
  19. After only one episode it's clear that the more we learn about each of them, the more we will want to know.
  20. 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.
  21. 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.
  22. The show's astringent tone, its excursions into low comedy--scenes like the one where everybody trying to diaper the baby ends up throwing up on her, and similarly stomach-churning fun--all work to counter the sentimentality of themes like this one. They work only in part here, and in this case that's all to the good. The show is meant to be a comedy, and it is--a smart and witty one--but there's no missing, either, under all that grotesquerie, its hard-core sweetness.
  23. It can be genuinely scary (the pilot has a "Lovely Bones" vibe that's not for children). But it has wit too, and avoids camp.
  24. Certainly things will get more exciting in future episodes, when everybody throws powerful stink bombs at Japanese ships, for instance, and--not for the first time in his career--Mr. Watson steals the show.
  25. Nobody (including James Earl Jones as the chief justice) plays openly for laughs here, which would spoil an already precarious illusion. Yet amid the high-voltage action, there is banter and always an open invitation to laugh if you want to.
  26. If German expressionism is your thing—and the sensation of emotional battering feels real here for the characters and viewers alike--the eight-episode series will be searingly satisfying. Everyone else, be warned and encouraged: This is a long walk on the dark side pierced by occasional moments of glittering, breath-stopping beauty.
  27. Although their four-hour production sags and drags in places, it is overall a stylish and engaging new take.
  28. The show’s writers and producers may be trying to force-feed her to us as the health-care equivalent of the whore with a heart of gold. But Ms. Falco manages to shake off clichés and attract us to her for reasons never referred to in the script.
  29. Take the back stories, add the unfolding drama of love, loss, disappearances and danger, shake it all up with exotic locales from Paris and Berlin to Monaco and Rio--and it could be a tasty cocktail
  30. 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.

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