Washington Post's Scores

For 1,013 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 10.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 House: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 416
  2. Negative: 0 out of 416
416 tv reviews
  1. 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.
  2. It's D'Elia and the other cast members who rescue the show from a wretched Whitney overload.
  3. 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.”
  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. For the most part, Girls is still wickedly written and, for some viewers, the best hate-watch around. Yet it too easily runs on fumes from a hipster era (circa 2012) that is already ossifying.
  6. You'll vaguely remember several shows that went pretty much like this one.
  7. 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.
  8. It’s difficult to escape the show’s plasticky veneer and misplaced exuberance.
  9. 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.
  10. SyFy routinely demonstrates that today’s tricks have gotten too easy, which is why Dominion feels like it is unintentionally telling a separate story of a world in which humanity is held captive by quickie CGI.
  11. 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
  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. The show is almost drowning in detail, minute detail, so that the basic plot line and its resolution are a chore to follow and figure out. [22 Sep 2004]
    • Washington Post
  14. It's precisely what the title says: just new iterations of the same spit-up and teething jokes.
  15. Seriously, it is hard to take the show very seriously. It does traffic in issues and hot topics--and protests, in its way, the general corruption of the legal system--but not in particularly fresh or original terms.
    • 51 Metascore
    • 50 Critic Score
    Realism, in other words, is not the show's strong suit; pretty much all of it (the detecting, the lawyering, the examining and the reporting) can be described as "lite.
  16. Now it's a little bit "Lost" meets "Star Trek: Voyager." Why are we here? How do we get home? Stay tuned, if it's your thing.
  17. Despite the prestigious presence of stars such as Harvey Keitel, Michael Imperioli, Lisa Bonet and Gretchen Mol, Life on Mars, a new ABC crime drama, comes off as naggingly undistinguished.
  18. It's strange how a show meant to generate excitement and promote thriftiness can leave one with a sense of remorse and shame.
  19. Where the original series had a clear through line and a strong sense of the grief that surrounds murder, the new Broadchurch unsuccessfully juggles several more plots and characters, grafting an older case onto the (surprisingly still ongoing) Latimer case.
  20. This new, more mild Upstairs Downstairs, which makes its American premiere on PBS on Sunday night, is a three-part epilogue that feels more like an unfinished afterthought.
  21. 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."
  22. The pilot is admittedly a swift, brisk bit of escapist whimsy, but one has to wonder whether the idea of a heist every week will really prove tenable.
  23. It's easy to root for the very watchable Greer, both as the underdog and as a charming actress who deserves a better script.
  24. This is no run-of-the-mill production, but it falls under the heading of "acquired taste." The main inducement to acquire it is to watch Gugino have her way with the title role.
  25. Intriguing and confounding though it is, this is anything but easy, funsy television. In fact, there are times when a viewer may feel he's being punished almost to the same degree as Detective Hopper.
  26. The characters are refreshingly non-hostile and converse in something other than brittle, cold sitcom-speak. But the serialized nature of the stories (subsequent episodes begin with the "previously on" feature usually seen on dramas) is no particular plus. And while the characters are sweet, they stop short of being lovable.
  27. An ambitious--yet disappointingly stiff--staging of the original musical.
  28. The pilot episode is laden with so much setup for countless other characters that the network should have supplied a flow chart.
    • tbd Metascore
    • 50 Critic Score
    For now, Shipping Wars is mostly about the perfectly packed trunk and the ecstasy of having not an inch to spare.

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