Washington Post's Scores

For 1,063 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 Sopranos: Season 2
Lowest review score: 0 Almost Human: Season 1
Score distribution:
  1. Mixed: 0 out of 440
  2. Negative: 0 out of 440
440 tv reviews
  1. As stupid as it looks, and as much as you can hate yourself for watching, it's a complex show about the nature of sin. There's a tendency to examine it too cerebrally in that regard, to think of Jersey Shore as pure performance art. Sometimes critics can be wrong in typing too many words.
  2. The first half of Vito plays almost like a 45-minute "It Gets Better" ad. [Then] Vito exchanges its subtle storytelling technique for a sobering session of gay rights homework, resembling a recent raft of documentaries about the early years of the AIDS crisis.
  3. It's a pleasant mix of a little "Juno" hipitude and a lot of "Everwood" glow, and just when it comes dangerously close to feeling like an excessively cool tampon commercial, its characters compel you to keep watching.
  4. The show feels new again, but that doesn’t mean it feels fully refreshed, nor is it immune to painting itself into the same sort of corners it got stuck in before.
  5. The meandering approach does manage to excavate some fascinating tales and memories.
  6. The better parts of The Strain will unsettle viewers with this new species of monster.... The first couple of episodes seem as if they’ve been assembled from a kit that’s missing a few nuts and bolts; by the third and fourth episodes, however, a viewer gets a much better sense of The Strain’s style and bite.
  7. Muhammad Ali’s Greatest Fight, which is based on a book by Howard L. Bingham and Max Wallace, is best when it revels in the astonishing whiteness and occasionally ridiculous ways of yesterday’s high court.
  8. An addictive frolic for summertime.
  9. A solid yet initially disturbing new drama.
  10. Da Vinci’s Demons breezily and capably finds a balance between amusing wit and dour drama.
  11. A strange and somewhat delightful animated comedy.
  12. There’s not a lot of plot to be had here, and the news that Clear History leaned heavily on the improvisational impulses of its cast might usually ward off the improv-weary. But Clear History has a nice, confident and well-edited breeze to it (including a lot of jokes about the band Chicago), with a fun cast that includes standout riffs from Michael Keaton, Danny McBride and Eva Mendes.
  13. It isn't innovative or brilliant, but there's some kind of joy to be had from watching the parts of the machine fit together just right and operate slickly and smoothly.
  14. There’s not a lackluster performance among the superb cast members of Bloodline; Chandler and Cardellini, especially, are in top form. Nevertheless, it’s Mendelsohn, as Danny, who makes the best of a script that at times seems overly opaque.
  15. Baker and his wily line readings and intimidatingly sly stares can snap the show out of occasional stupors.
  16. It’s a fast-paced shoot-’em-up/blow-’em-up affair (with the usual ridiculous disregard for actual public safety), but beneath the noise and oozing machismo, it’s not half bad as a deeper emotional story about family and trust.
  17. The production is nothing if not rich, awash in muted hues, populated with rivetingly complex characters and yet disappointingly low on spectacle.
  18. What lifts "Evidence" well above the clamor of standard cop shows is the charisma between its two male leads.
  19. Although it starts out on a glib, dopey note--as "Mission: Preposterous" crossed with "Ocean's Eleven"--the new TNT series Leverage develops with surprising swiftness into a decent, watchable action drama about wrongs being righted and bad guys getting what's coming to them.
  20. Mamet offers a kind of thinking person's war movie for a nation that is, indeed, at war.
  21. "Brewster" improves on the original and has the look of a warmhearted winner. ... It's corny, it's old-fashioned, it's predictable, and it works. [1 May 1990]
    • Washington Post
    • 62 Metascore
    • 70 Critic Score
    There are no big tricks, no screaming fireworks, no shocking pull-back-the-curtain exposés on "The Hill." Instead, it's a solid and useful look at some smart, passionate people trying do something they think is right.
  22. The result was assured, quick-paced and enjoyably flavored with a few spicy dashes of Brian Williams's dry rub.
  23. Sherlock moves swiftly and intelligently but also a little too coldly, like a long commercial for better WiFi..... Cumberbatch’s take on Holmes’s narcissism can come off as skeevishly robotic. If not for Freeman’s deeper, more human work as Watson, the style would soon go sterile.
  24. It's surprisingly sweet and cleverly hilarious. ... The show may not exactly blaze new trails, but it treads some old ones with finesse and veracity -- and even, thanks largely to Ritter, an endearingly rumpled charm. [17 Sep 2002]
    • Washington Post
  25. But sprawl it must. "True Blood" is a soap opera at its core, which is why it is so overpopulated with sexy characters.
  26. [The] new episodes are no great shakes, but they do find Futurama humming along.
  27. This is, without a doubt, a show for and about teens.
  28. Within a few episodes and with slightly lowered expectations, it gets a good buzz going.
  29. The fact that Meaney has a slightly Gleasonesque persona gives his exchanges with Meadows, so long ago Alice Kramden, a nostalgic oomph. Cheering memories of "The Honeymooners" hover over the proceedings -- the icing on a fast-frozen devil's-food cake. [10 Sept 1990, p.B1]
    • Washington Post

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