Wall Street Journal's Scores

For 423 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 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Homeland: Season 1
Lowest review score: 10 The Millers: Season 1
Score distribution:
  1. Mixed: 0 out of 302
  2. Negative: 0 out of 302
302 tv reviews
  1. It's still a fun, fast ride, with lots of twists and turns, murder and menace, and after only a few episodes we know enough back story about most of the main characters to care what happens to them.
  2. Good fun, and not as bastardized as its advertising campaign suggests.
  3. It promised, in short, steadily absorbing plots and skilled writing, and these the series has delivered ever since.
  4. The underlying theme here, once the fantastic elements are stripped away, is loneliness. That (plus the interesting face of its star) gives New Amsterdam a true and very tender heart.
  5. House of Lies about the thievery of management consultants, manages to turn a theme with reasonable comedic potential into a vehicle for 16-year-old males, though dressed up as satire for sophisticates.
  6. It's a dramatic premise that should yield high rewards for Hostages, whose confident pilot episode ends with a cliffhanger worthy of the name--a kind that should bring audiences back lusting for more.
  7. 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.
  8. Suffice it to say that Bravo has found yet another group of not-very-appealing women to represent their gender and, more broadly speaking, the lifestyle of the heterosexual cheeseball.
  9. Even on the basis of the two episodes made available, it's easy enough to see that Mob City has plenty up its noir sleeve, including some rich plotting. Above all there's the cast, mainly responsible for the aforementioned life and energy.
  10. The real Messrs. Gervais and Merchant haven't lost their touch with self-humiliating characters.
  11. [So far] the show has the elements of a gripping yarn.... But there was a vibe of something tedious when one of the kidnappers announced: "Today the bug is king"--and if Crisis really goes there, some of us will be tempted to run away.
  12. Despite some funny and even pungent moments, in fact, Doll & Em is so gentle that you can barely feel anything.
  13. 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.
  14. Golden Boy is packed with fine performances, but no amount of actorly talent could have done for this series what its intelligently twisty plots, its nuanced dialogue bearing a distinct resemblance to human exchange--even from the mouths of TV police detectives--has done.
  15. Mike & Molly may not at first seem to offer much (other, that is, than streams of fat jokes), but it boasts a cast with distinctive looks and a capacity to deliver quick comedic jabs that can make you howl. That these come unexpectedly in the midst of endless gross clatter is one of those mysteries of the creative process best not to dwell upon.
  16. Inquiring minds who liked "Lost," or "The 4400" and "The Event" will find much to feast on.
  17. As the premiere episode nears its end, the plot begins thickening agreeably with so many secrets, dark revelations, shocks and betrayals it all begins to seem familiarly and comfortably absorbing.
  18. This relaxing series about small-town lives is as burden-free as a day on the beach with an umbrella, a book and a breeze.
  19. Ultimately, though, it's not what happens to the folks on this show that is so revealing. It's what goes on in our own minds as we watch and listen to them try to navigate the shoals of racial differences.
  20. As show titles go, Naked and Afraid is inspired. Better still, the new Discovery series is even more entertaining than its title.
    • 62 Metascore
    • 40 Critic Score
    As disrespectful to his victims as it may be to view The House of Saddam as entertainment, that is the only level where it succeeds.
  21. Another preposterous television premise perhaps, but one that may be comforting to viewers looking for gentle escape with dash of uplift and hope.
  22. There is enough lively (if sometimes explicit) dialogue and reliable sexual appeal in all this to keep intuitive male viewers interested.
  23. The main deadly force in Eli Stone is its scripts, which are ever so spritely in tone, ever so dumb in essence.
  24. [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.
  25. There is some suspense here, even if it is mainly because the violence when it comes is so swift and sickening. But the show still feels slack.
  26. An intriguing look at Americans with their own ideas of the purpose-driven life.
  27. When not trapped in the effort to wring excitement from Fleming's adventurous sex life, the series rolls on compellingly with his spying adventures, his role in creating a special operations unit.
  28. Some of the life forms in Almost Human are artificial. The intelligence is genuine.
  29. After the male action sequences, alas, the feminine interludes tend to be soporific.