Washington Post's Scores

For 938 reviews, this publication has graded:
  • 38% higher than the average critic
  • 1% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 11.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 53
Highest review score: 100 House: Season 1
Lowest review score: 0 Friends: Season 1
Score distribution:
  1. Mixed: 0 out of 372
  2. Negative: 0 out of 372
372 tv reviews
  1. More of a let-down than a pick-me-up. [19 Apr 1990, p.E9]
    • Washington Post
  2. A glorious bungle. It has been produced on a dauntingly massive scale (by no less than Steven Spielberg and Tom Hanks, those old war hands) and is at times visually astonishing...Unfortunately it also suffers from disorganization, muddled thinking and a sense of redundancy. [8 Sept 2001, p.C01]
    • Washington Post
  3. The cast is certainly talented enough to overcome We Are Men's shortcomings, if the writing improves.
  4. It’s all done with a cold efficiency and a gloomy, disinterested tone.
  5. 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.
  6. 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.
  7. 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.'
  8. 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.
  9. The show is so tight--maybe too tight--that it starts to choke on its own power-tie premise in the first three episodes.
  10. 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.”
  11. It’s difficult to escape the show’s plasticky veneer and misplaced exuberance.
  12. An ambitious--yet disappointingly stiff--staging of the original musical.
  13. 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.
  14. 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]
    • Washington Post
  15. 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.
  16. 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.
  17. 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.
  18. No one can survive Surviving Jack’s hollow and formulaic dialogue, which is bursting with jokes that are half-funny at best.
  19. 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.
  20. By the second hour (both of Monday’s episodes adhere to the minute-by-minute chronology; the fast-forwarding will happen later), it’s clear that Live Another Day is not much interested in broadening the show’s scope, feeling or characters. It does, however, have an abiding interest in the latest news about spying, vis-a-vis its own version of notorious document-leaker Edward Snowden: Chloe O’Brian.
  21. It’s rare to see a show get its style so right and its story so backwards.
  22. Halt and Catch Fire suffers from a common case of style over substance.
  23. Despite some initial problems with pace and a bland idea of suspense, The Last Ship is at least a break from all the detective and lawyer shows that characterize cable TV’s long summers.
  24. 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.
  25. If the material were better, she wouldn't have to mug and grimace and cavort so strenuously; push wouldn't have to keep coming to shove. ... It's an in-your-face affair, and after a while, your face gets tired. [15 Apr 2003]
    • Washington Post
  26. It’s refreshing to see NBC bring out a comedy that values subtlety over slapstick, but the situations and dialogue here are just a little too subtle to draw viewers in.
  27. Sometimes it’s fun to get utterly lost in a drama like this; sometimes it’s better to turn around and keep driving.
  28. As Russ, Faxon is a one-note.... but it’s Greer’s performance as Lina (as well as Jenny Slate’s supporting role as Russ’s friend, Jess) that keeps Married alive.
  29. From the writing to the performances to some overly artistic visuals and camera cuts, the first episode could not be more crammed with self-seriousness if it tried.... Some strong performances peek through anyhow, especially from Manhattan’s star, John Benjamin Hickey.
  30. 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.

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