Washington Post's Scores

For 852 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% 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 Sports Night: Season 1
Lowest review score: 0 Friends: Season 1
Score distribution:
  1. Mixed: 0 out of 342
  2. Negative: 0 out of 342
342 tv reviews
  1. Future television and movie historians will know us mainly by our enjoyment of stories about sad sacks who further their own misery by trying to impress those around them. It’s a threadbare shtick, but Merchant... has mastered it.
  2. Derivative of sci-fi and superhuman dramas we’ve seen plenty of times before, up to and including the slo-mo 'Matrix' bullets flying out of a gun.
  3. The show has a sincerity about its silliness and light spookiness; for a moment there, it’s almost as if 'True Blood' tried to conceive a demon baby with 'Bunheads.'
  4. The pilot episode is stylish and swiftly paced, but that’s all it is, and despite some intriguing plot twists, there’s not a lot of motivation to keep coming back.
  5. The show is so tight--maybe too tight--that it starts to choke on its own power-tie premise in the first three episodes.
  6. Once assembled, Mob City has a slick sheen and a sure trigger finger that unleashes a stream of bullets. But the guns here are the kind that go “ho-hum” instead of “bang-bang.”
  7. It’s difficult to escape the show’s plasticky veneer and misplaced exuberance.
  8. An ambitious--yet disappointingly stiff--staging of the original musical.
  9. It fixates on the familiar, sullen murkiness similar to recent procedurals (“The Killing” and “Broadchurch,” for example) and adds several more layers of its own artistic yet unfulfilling murk.
  10. Funny, yes. Wildly funny, no...As an addition to pop literature about women in groups, Designing Women appears more derivative than innovative, but being derivative hardly ever hurts in prime-time television. [29 Sept 1986, p.C3]
  11. The first three episodes are all hints and shadows and squandered time, while the show’s most intriguing context and premise--life in a forgotten and neglected tribe--gets lost in all the meandering.
  12. Although Sevigny brings some of her flair for playing stubbornly outré characters to this role, Those Who Kill fails to distinguish itself from “Hannibal,” “The Following” and so much else in TV’s corpse-strewn imagination.
  13. So far, several story lines of small-town secrets and drama have fanned out and fizzled, making it hard to tell if “Bates Motel” wants to be compellingly chilling or just tediously unnerving.
  14. No one can survive Surviving Jack’s hollow and formulaic dialogue, which is bursting with jokes that are half-funny at best.
  15. Las Vegas needs all the gimmickry it can get because the basic premise of the show is shaky; we are expected to sympathize with the management of a big Vegas casino instead of rooting for the poor schmoes who are trying desperately to make some wild dream come true at the blackjack tables.
  16. An ambitious but ultimately weak attempt to set an ensemble drama inside Hugh Hefner's hallowed, smoke-filled nightclub of early 1960s Chicago.
  17. The show vacillates between hokey and clever as it mines the Brothers Grimm for contemporary analogues.
  18. A new but forgettable TV treatment for an old story, with results that look very "CW."
  19. Nothing about Sean Saves the World is off-putting, but not much about it is welcoming either.
  20. At times Black Sails feels like it wants to be taken seriously as a complicated, premium cable drama (a la “Game of Thrones”). At other times, it feels more like cheesier, more niche material (a la “Spartacus”).
  21. Where the previous movie aspired to be a camp classic, "Martha Behind Bars" takes itself more seriously, and less entertainingly.
  22. She's not bad, just flat; not annoying, just weak.
  23. It's a shame so much of the show is annoying, because it offers occasional small moments of enlightenment.
  24. A show like this... doesn't ask a lot of its audience, or of itself. In that context, give the three leads credit: They display flashes of skill and even subtlety in depicting their one-dimensional characters.
  25. At least [it] has possibilities and a good excuse for a giggle now and then.
  26. Several steps up from "Becker."
  27. For all the rewriting and reworking, the show needs a better premise and funnier dialogue and, most of all, a more commanding performer in the starring role.
  28. The costumes and sets are just ducky and highly evocative, but the people in and around them spoil the show, gum up the works and shatter veracity.
  29. There's a sort of comfort that comes from knowing you won't run into anything disruptively unconventional in a sitcom, and that would make Engvall as pleasantly lumpy as a dying couch.
  30. At present it suffers from a problem that predates not only television but radio and theater as well: Too many cooks, or at least too many ingredients bubbling to a busy and irritating boil.