Washington Post's Scores

For 994 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 10.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 Ed: Season 1
Lowest review score: 0 Category 7: The End of the World: Season 1
Score distribution:
  1. Mixed: 0 out of 404
  2. Negative: 0 out of 404
404 tv reviews
  1. Becoming Chaz is one thing--and it's occasionally fascinating to watch--but being Chaz gets old pretty fast.
  2. It's a handsome study in perfect mediocrity.
  3. It's D'Elia and the other cast members who rescue the show from a wretched Whitney overload.
  4. It's a whole lot of techno-hooey, relying on screenwriter-friendly leaps of logic. Emerson turns out to be a one-note actor, but Caviezel is appealing in a particle-board sort of way.
  5. You'll vaguely remember several shows that went pretty much like this one.
  6. For sitcom's premise sake, Kat reluctantly offers Caroline a place to stay, and before you know it we're watching a lukewarm revamp of "The Odd Couple."
  7. It's rare for Burns and Novick to get lost in their own material, but it happens here.
  8. With the line between documentary and amusement-park ride now crossed, it's easy for a critic to start noticing Vietnam in HD's other narrative and technical shortcuts with filler and stock footage, splicing in wherever needed the images we have seen before, including those familiar payload-perspective views of bombs being dropped over the hills and villages.
  9. Downton Abbey lacks surprise and is stretched precariously thin, a house full of fascinating people with not nearly enough to do, all caught in a loop of weak storylines that circle round but never fully propel.
  10. As lovingly written and organized as it is, the viewer must divide his or her time picking up on different scenarios and moods, caught between rather ho-hum murder cases and this other, more beguiling attempt to craft a show that is about the nature of loss and grief.
  11. Fashion Star's debut lasts 90 minutes but feels as though it's about five hours.
  12. It prefers action at points where it could really stand to slow down and build out a slightly more creative story. It's the very definition of a guilty-pleasure series.
  13. In some parts, Touch is pleasantly moving and even tightly woven, until it becomes too blunt in its purposeful yanking of heartstrings.
  14. A conceptually smart but only moderately funny comedy.
  15. You'll blow a gasket if you watch this show with any trace of superiority or outrage. Instead, bafflement is a good resting spot; a guilty-pleasure glee works even better.
  16. It's precisely what the title says: just new iterations of the same spit-up and teething jokes.
  17. That path [Will Ferrell/Jack Black/Zach Galifianakis school of oddballery] is fairly well trod at this point, as is the "New Girl" vibe Ben and Kate reaches for. Some funny lines still manage to peek through.
  18. Ultimately, the network misses the point of its own franchise, spending too much time poking fun at its classic guilty pleasure instead of giving something that viewers of "Mom at Sixteen" really want--actual information.
  19. Deception falls prey to the exhaustive method of too-much-storytelling, adding layer upon layer of mini-mysteries and twists until the weary viewer needs a detailed map to keep track--or turns off the show entirely.
  20. Only when it has 20 minutes left to live does Killing Lincoln knock it off with the hokey structure and melodrama and let the story itself take charge.
  21. Snail-paced and difficult to relate to, Parade’s End feels twice as long as its total running time. And yet it’s an exquisite and thoughtful sort of slog, with sound British pedigree and bone structure.
  22. For a while you can sense Hannibal’s noble urge to stick to a long story arc--why does there have to be a new case every episode?--but eventually it gives in to a proven formula.
  23. Mad Men is that rare thing that can be as infuriating as it is perfect. I’ve gone back and forth (and hot and cold) on it as much as a critic can; I warmed to it last season but feel a familiar chill this time.
  24. If Rectify was winnowed down to the length of a feature film and shown at a festival, we could better judge whether or not it accomplishes what it set out to do. Delivered this way, as a meandering, weekly TV show (with commercial breaks), it has spread itself too thin.
  25. Schumer’s sharpness comes through best in such moments, when she’s in stand-up mode and taking significant risks beyond the genre’s still-customary boundary lines of gender.... Meanwhile, her sketches and woman-on-the-street interviews with passersby feel burdened with the task of pleasing a male audience (while enlightening them a scoch).
  26. Tveit is kind of an underwhelming Officer Opie here, while Sunjata brings a menacingly ambivalent character to life.
    • 81 Metascore
    • 50 Critic Score
    One of those "almost" shows--almost funny, almost interesting and almost family-friendly. There is potential here, particularly in the mother-daughter relationship between 32-year-old Lorelai (Lauren Graham) and 16-year-old Rory (Alexis Bledel), who could develop a real bond if they'd stop zinging one-liners for a few minutes. And if they can't stop the quips, maybe they could just speak more slowly so the audience can understand what they're saying. [5 Oct 2000, p.C07]
    • Washington Post
    • 74 Metascore
    • 50 Critic Score
    The alleged humor is so broad as to make one wince -- if not recoil. [10 Aug 1996, p.C01]
    • Washington Post
  27. Often engaging, inventive, well acted and wickedly funny, Picket Fences keeps shooting itself in the foot with tastelessness disguised as daring. Irritating as it may frequently be, however, Picket Fences also seems the new fall drama most likely to become habit-forming. You may love it, you may hate it, but you're liable to be hooked. [18 Sept 1992, p.D1]
    • Washington Post
  28. The crew of the new Starship Enterprise doesn't seem as intriguingly colorful as the original bunch. ... "Star Trek" aims to fill the eye and engage the mind; it has a long way to boldly go at both. But the new beginning is not without its rejuvenating properties, and there's nothing else on the air quite like it. [3 Oct 1987]
    • Washington Post

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