Washington Post's Scores

For 1,025 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 10.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 The Corner: Season 1
Lowest review score: 0 Identity: Season 1
Score distribution:
  1. Mixed: 0 out of 424
  2. Negative: 0 out of 424
424 tv reviews
  1. The show makes an admirable effort at transcending gayness without compromising it. Groff is fine but not fascinating as the naive yet manipulative Patrick, and Alvarez gives Agustin a certain bohemian flair. The real standout--and best-realized character so far--is Bartlett’s Dom. Actually, the more I think about it, the show’s real standout is San Francisco itself.
  2. In the first two episodes, the show has enough momentum to offer some promise, even if Cherry’s vehicles tend to start strong and go off the rails quickly.
  3. All of which is to say that even for the most open minds, Game of Thrones can be a big stein of groggy slog. On the plus side, the first six episodes are impressively free of sorcery and special effects, and instead rely on the stuff of any deeply dark HBO epic: corruption, deceit, illicit sex (incest in this case), unflinchingly gory violence, and a willingness to kill off a prominent character or two in the service of plot.
  4. Shows like those lean more toward seriousness and away from the colorfully ridiculous old comic books. Although this often strikes non-fanboys and non-fangirls as woefully atonal, it mostly works here, but it would be nice if No Ordinary Family had more humor about it.
  5. It's rather a bold, retro step for CBS to attempt this kind of show in the era of reality television and domestic fights that appear to be actual and spontaneous rather than cooked up by a writer. But the airwaves are so choked with reality that a return to fantasy seems strangely refreshing and, ironically, even more realistic.
  6. Everything that’s excellent about The Normal Heart--including compelling performances from its stars, Mark Ruffalo and Julia Roberts, with an especially strong turn from "White Collar’s" Matt Bomer--is also merely just fine; very good but not great; a tear-jerker but not a bawler; and probably beyond reproach.
  7. Every detail has been attended to, every format and traditional segue honored; there is absolutely nothing to quibble over with the show's tone and pace. Which is, itself, a quibble.
  8. Tennant is once again terrific at juggling a lot of emotions from one moment to the next. The supporting cast is also sufficiently fine, including a steely performance from Sophie Okonedo.... Plodding on too far, The Escape Artist becomes a revenge story. And yet, for the ineffably eurocentric reasons I was describing earlier, you keep watching and waiting for the surprise.
  9. Viewers who like to tiptoe over to the dark side now and then--at least once a week--are bound to find Walt White's wonderland of woes worth a visit or two, or many more.
  10. Margulies rises so grippingly to the challenge that whatever else it is, "just another" courtroom show Canterbury's Law most definitely is not.
  11. Steinberg... appears to be having a good time, and that helps a lot.
  12. With an efficient and alternately clumsy and eloquent screenplay by Walon Green, Killing Jesus does not vary much from the Via Dolorosa. As a result, the lavish NatGeo treatment works a lot better than it did on the channel’s adaptations of O’Reilly’s earlier books, “Killing Lincoln” and “Killing Kennedy.”
  13. Mitchell’s coolly understated performance makes it all slightly more believable and worth a few episodes to see where it leads.
    • 74 Metascore
    • 70 Critic Score
    New technology is good. The latest educational research is good. This new crew is a superhero team we could support--even if we don't quite understand how Wordball solves crimes. None of that was ever what the original "Electric Company" was about, though.
  14. Despite some stiffness (and a whole lot of words crammed into the characters’ mouths, hastily delivered in an array of accents) Turn succeeds in making the War of Independence seem like a vital and fresh saga.... But the show struggles to lay out its characters and conflicts in a way that feels instantly addictive.
  15. It's often difficult for them to shed the topical baggage they are made to carry and simply be themselves. Still, if you stick with them, you'll see Treme becoming a well-paced work of fiction rather than see Treme spending too much effort speaking truth to an indifferent power.
  16. Sharp without being nasty and warm without being mushy...If sitcoms are a necessary evil, Boy Meets World at least manages to be as pleasant and painless as possible. [24 Sept 1993, p.C1]
    • Washington Post
  17. He may not even know his real identity, which is what makes him so good at taking on imaginary aliases. From there, the show seems a bit predictably structured, but Bean lends a strong and complex presence to the idea.
  18. A solid prime-time soap with a burnt-crisp soul.
  19. Like all shows set in Texas, Killer Women is cooked through with too much yee-haw sauce and a whole lot of urban-cowgirl chic, but Helfer ably carries off the assignment and keeps the momentum going.
  20. If you haven’t been reading Marvel Comics lately... then the show can feel somewhat exclusionary and, frankly, a little too cornball and cutesy about its own geekiness.
  21. Wolk provides just the sort of casting ingenuity The Crazy Ones needs, especially as a counterbalance to Williams, who, it goes without saying, will motormouth his way through any scene he can. ... But watching [Gellar] play Williams’s dutiful and comedy-challenged daughter is a dreary primer in the pitfalls of big-name casting.
  22. No one will accuse 'Brooklyn Nine-Nine' of too much authenticity, but it does have a confident breeziness in its banter that almost immediately locates a ['Barney Miller']-esque balance in the more absurd aspects of law enforcement.
  23. The earnestness comes in pretty strong doses, but it might be good for what ails you.
  24. It's an adrenalin-doused premise that is handsomely executed, but it feels like we get to Defcon 2 way too fast.
  25. A large supporting cast helps Vegas appear to be compelling and classy. And then CBS lapses into its old habit, as Lamb and company squander all this intriguing potential trying to solve their first of many cases.
  26. It’s difficult to know whether Fortitude aims to be a “Broadchurch on Ice” or, at its most extreme, a riff on John Carpenter’s “The Thing.” In its favor, the show has an irresistible setting.
  27. Fresh Off the Boat wants to be both “Black-ish” and “The Goldbergs”--and it works fairly okay as a companion piece to either--but it’s a lot better show when it occasionally stops going for just the easy jokes and aims for a subtler, sharper line of comment.
  28. Forever isn’t the freshest new show this fall, but its classiness is appreciated.
  29. Dracula shows a lot of skill when it comes to launching a swift-paced series and weaving together several taut story lines and characters; at times it even finds an undiscovered sweet spot between 'Downton Abbey' and Bela Lugosi. ... Only one crucial piece is missing: Dracula isn’t scary.

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