Wall Street Journal's Scores

For 505 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 Parade's End
Lowest review score: 10 Prime Suspect: Season 1
Score distribution:
  1. Mixed: 0 out of 361
  2. Negative: 0 out of 361
361 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Although their four-hour production sags and drags in places, it is overall a stylish and engaging new take.
  7. 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.
  8. 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
  9. 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.
  10. Clearly, the creators of Filth (Amanda Coe, writer, Andy De Emmony, director) had their problems settling down to a comfortable tone for this figure who was, after all, famous entirely for her career on behalf of censorship. Julie Walters, who portrays her with grand and ebullient sympathy, shows evidence of no similar problems.
  11. 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.
  12. Another preposterous television premise perhaps, but one that may be comforting to viewers looking for gentle escape with dash of uplift and hope.
    • 64 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]
    • Wall Street Journal
  13. Terra Nova stakes out its own universe, and the fact that we have been on such journeys before may enhance the experience of this one.
  14. An elaborate mystery is always compelling, and here, episode after episode, we search for clues, for some sign that will let us distinguish between reality and imagination.
    • 58 Metascore
    • 70 Critic Score
    The series ... is graced by a quirky charm that brings to mind such classic shows as "The Rockford Files" and "Magnum. P.I." [24 Jul 2000]
    • Wall Street Journal
  15. It's Mr. Sutherland's portrayal of the father--unyielding in his effort to break through to his mute child and grasp what he's trying to say with his numbers--that is the heart of this story, the power likely to sustain this promising enterprise.
  16. As familiar as this tableau may be, Hell on Wheels finds enough beauty, danger and emotion to make some part of every episode seem fresh and worth waiting for.
  17. Mr. Connelly is one of the writers and executive producers, along with co-executive producer Eric Overmyer of “The Wire” and much other fame. They know good writing, with not a word wasted. They know cop lore and lingo and what turns viewers on about the genre. There’s a solid cast. The rest... who knows? It just happens.
  18. When all is said and done, none of these back stories is as inspiring as what happens when these people open their mouths and just sing.
  19. Nobody here offers shattering insights into the meaning of life or even of modeling. They're just among a large group of attractive women telling stories to the camera.
  20. [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.
  21. Inquiring minds who liked "Lost," or "The 4400" and "The Event" will find much to feast on.
  22. The case involves a body found in a wood and the mysteries of a Lewis Carroll manuscript, all of it strangely satisfying in its own familiar, unsuspenseful way.
  23. 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.
  24. If ever a show was made for hate-viewing, it’s The Slap.... Where The Slap will be going in subsequent episodes is unclear and, mostly, irrelevant. Any and all misfortune, however, will be warmly welcomed.
  25. 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.
  26. Whether you come away seeing Scientology as a cult that ensnares vulnerable people or as a faith of self-empowerment, the film leaves a terrible taste of too much information. This must be its point, but take heed just the same.
  27. The whole enterprise is less goosed and glitzy than NBC's successful show, "The Voice." But it's easier to concentrate that way, on the experts who know what they want and talk to the contestants with a brutal honesty that's still softer than the real world.
  28. While the tale is not always exciting and the parade of suits grows blurry at times, other times Fail takes on the urgency of an imminent nuclear disaster. Shop talk, cutting quips and appropriately ominous music add atmospherics.

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