Wall Street Journal's Scores

For 604 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 4.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Ray Donovan: Season 2
Lowest review score: 10 The Millers: Season 1
Score distribution:
  1. Mixed: 0 out of 429
  2. Negative: 0 out of 429
429 tv reviews
  1. A dark but artful and sophisticated drama.
  2. Mad Men is infinitely more concerned with entertainment, an effort at which it succeeds, thanks mostly to its first-rate cast, disarming humor and period detail.
  3. [A] thoroughly captivating Rolling Stones documentary.
  4. Some viewers may be dismayed to see so much more of Brody's sulky daughter, Dana (Morgan Saylor), or put off by another Carrie meltdown. But those are minor annoyances. Overall, the new Homeland looks to be back on track in marvelous ways.
  5. The omniscient-narrator device works very well for a complex story spanning many years and varied sets of players.
  6. 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.
  7. Dead Set is less remarkable, because this import from the U.K. is more typical of the genre and gets campy, although it will scare the bejeebers out of you.
  8. Syria and refugees are only the beginning of this season’s potent mix of ripped-from-the-headlines crises.... Carrie is, unsurprisingly, headed back to her old identity as master snoop on the hunt. Between that and the news focus, not to mention the glittering Berlin street scenes, welcome to the new Homeland.
  9. One must be anesthetized for the series to have its desired effect of making us root for Underwood or at least feel suspense until each of his miniplots pans out to successful competition. Yet rapacious viewing will be numbing too, and not in a useful way.
  10. What makes this documentary so fascinating are the narratives by many of the CIA analysts, operatives and others who worked in the shadows over almost two decades to lay the groundwork for identifying Islamic radicals and tracking terrorists.
  11. So far--although Glee may be creeping closer to the edge--it remains nearly as delightful as it was when everything about the show seemed shiny and new.
  12. Alert to every deranged impulse of his clients, Mr. Silver brings his lessons home with vigor and wit.
  13. 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.
  14. 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.
  15. An atmospheric thriller wrapped around a nugget of social commentary.
  16. The upside is that the first few episodes (of nine) may well draw you in, along with some wonderful performances.... If only there were more such gems in this particular crown.
  17. The sense of desperation among all the characters is heightened; the stakes are higher; the politics more sordid. Other aspects of the series, however, have remained disappointingly the same.
  18. Matt Duffer and Ross Duffer, brothers and the show’s creators, have done their homework when it comes to ’80s cinema. Whether you’re a fan of John Carpenter’s “The Thing” or “The Goonies” is more your speed, there’s plenty to like in Stranger Things.
  19. There is a little less suspense about some of the baddies here, one of whom is easy to guess early on. Yet it is never tiring to watch Marcus run and leap and limp and dodge the police cars and foot-chasers that seem to turn up every place he tries to take refuge in or search for clues.
  20. "Ugly Betty" shines because Ms. Ferrera is luminous and credible as a character surrounded by caricatures. It's a strange mixture, but it works.
  21. 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.
  22. Boss is not flawless. But buoyed by strong performances and a haunting score, the show makes for deeply affecting television nevertheless.
  23. Despite its fantastic nature, the story is an onion with a thousand layers, each one a satisfying mystery of its own.
  24. Despite some clumsy exposition by its creators, Jack Amiel and Michael Begler, it has a well-researched sense of place.
  25. Although their characters are as vivid as they are distinctive, these two interact so effortlessly, in conversation and body language, it's easy to forget they are just acting. And inside these "lost boys" are real men struggling to get out.
  26. 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.
  27. It’s certainly energetic TV, but requires a strenuous suspension of disbelief.
  28. There's plenty of life and overall quality to sustain this series for a long time to come.
  29. This is one circus worth attending, a series bottomless in its capacity to fascinate.
  30. Out of all of this, including the aforementioned excesses--which are, it should be said, carried off with style--there emerges a brawling, crowded and unfailingly compelling film.

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