Wall Street Journal's Scores

For 646 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 Ray Donovan: Season 2
Lowest review score: 10 The Millers: Season 1
Score distribution:
  1. Mixed: 0 out of 458
  2. Negative: 0 out of 458
458 tv reviews
  1. [The show’s writers revert] at least once to a Carrie who maunders on pathetically during a trip back to America, as she evokes loving memories of the psychopathic Brody for her infant daughter—a truly unbearable scene, fortunately brief. There’s not a lot likely to dim the attractions of this Homeland with its energized spirit--not to mention the implacable Carrie, capable of mounting a war on terror all her own.
  2. The plot--absurd as it is that a handful of people would be alone and in charge of saving the world, or in an encounter between organizations named Section 20 and Office 39--has enough twists and momentum to keep you eager to know what happens next. What’s also cool, and helps further elevate Strike Back in its genre, is the artistic attention to detail.
  3. Most of the editors here have charm and pizazz that seem more appealing than the photographs they masterminded.
  4. The vibe so far is part "Hunt for Red October," part "Lord of the Flies."
  5. Over a mere three episodes for this season, it is difficult to know most of the characters. Some, like Sir Hallam, seem only half-drawn. Agnes's sister Lady Persie (Claire Foy)--a debutante who's become a fascist fangirl--is repellant in an uninteresting way. There are some plot touches, involving minorities, that clang as too modern. Then again, when the Duke of Kent cries over his brother Edward's abdication--"It's the sort of thing that happens in Romania"--memories of what was so entrancing about the original show come wafting back.
  6. The Canadian wilderness scenery is spectacular and the cast is even better.
  7. It contains enough legalese to make things seem plausible, not impenetrable. It breathes. It allows relationships to build, and be revealed, as the narrative progresses.
  8. They [the Loud family] are to the contrary enlarged, explained, their family loyalty honored, in a film that ends up packing an emotional punch that's as surprising as it is eloquent.
  9. Truth be told, Game Change does not make anyone look good.
  10. 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.
  11. Four episodes of Life on Mars have by now aired, each livelier and more confident than the last and--despite its mush of a lead character--justifiably so. That's no small triumph.
  12. Inconvenient as that is, and fear takes many forms here, the first three episodes of Hap and Leonard sucked me in almost as easily as Trudy pulls Hap.
  13. Ms. Comer delivers a compelling portrayal as Ivy, who, even in the grip of terror, projects an air of dangerousness. She’s fragile, but has also developed a core of steel—her experience has made her tough, as she shows throughout the five episodes of this thriller entirely worthy of the name.
  14. As was true in season one, the first thing to notice about Togetherness--in addition to its spectacularly talented cast--is the amount of sophisticated wit the writers manage to dredge from standard sitcom craziness, the exuberance they wring out of emotional pain and everyday sodden travail.
  15. Those who find unremitting gloom too much to bear will be cheered to know that the show’s complicated mysteries and interpersonal dramas may provide sporadic relief. Whether the storytelling will be as good as the acting is too early to say.
  16. The Conan Doyle of this series has considerable charm as played by Mr. Clunes, though that takes some time to emerge from the effects of episode one.
  17. 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.
  18. After the stage-setting of the first two episodes, however, Looking becomes less frenetic and begins building emotional resonance.
  19. Moment after moment the drama deepens, the rich complexity of Ford's characters make themselves felt in all their strangeness and variety.
  20. There’s a lot of lying going on in this police headquarters. A lot of smart, superbly sustained entertainment, too.
  21. A marvelously complex atmosphere of wartime tension hovers over the peacetime lives of these characters--no small saving grace in a script that includes the hunt for yet another tiresome serial killer/rapist with strange sexual tastes, now a staple of British television mysteries.
  22. The trick to Ray Donovan, its gift to TV art, is to make almost every character emerge fully formed, and each scene a stunning vignette: of tragedy.
  23. To their credit, these cultural tourists get it, and pretty much right away. ... Is nonfiction misery, however antique, the proper stuff of entertainment? There’s some education at work here, of course, but what we really want to see is how far the participants will go before they break.
  24. It takes a while to build up satisfying dramatic steam, so it may require more patience than some are willing to give.... but there has to be something great about a show that keeps you staring at it episode after episode, waiting for attraction to take its course.
  25. It may require concentration to savor all its moving parts. But that’s not exactly work, considering the reward.
  26. 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.
  27. Darkly wondrous.
    • 73 Metascore
    • 70 Critic Score
    The writing is almost always smart, sharp and funny.
  28. 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.
  29. As Bruce meanders through these segments, determinedly inoffensive, the "Seinfeld" team's immortal notion via George Costanza--"let's do a sitcom about nothing"--comes to mind

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