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 The Larry Sanders Show: Season 6
Lowest review score: 0 Welcome to the Family: Season 1
Score distribution:
  1. Mixed: 0 out of 342
  2. Negative: 0 out of 342
342 tv reviews
  1. As light summer fare, most of it done with a campy wink at the camera, Flash Gordon is by no means unbearable. But the fonder one's memories of the original, the more likely the viewer will want to send this Flash back.
    • 31 Metascore
    • 40 Critic Score
    Anchorwoman is the sort of trailer-park television you wouldn't mark your calendar to watch each week, but if you channel-surfed across it, you couldn't help but watch.
  2. Big Shots tries way too hard to be shocking and raunchy. The actors resemble kiddies at school trying to impress one another with the latest naughty word learned in gym class.
  3. Despite plenty of surface sparkle, there is something discomforting about the show, and not just because it borrows tone and form from other sitcoms with youthful heroes, especially Fox's "Malcolm in the Middle."
  4. Peeps of sentimentality only serve to emphasize the film's uneven mix of the sardonic and the heartfelt. Tin Man unfortunately seems as bereft of an efficiently functioning ticker as is the titular character himself.
    • 29 Metascore
    • 40 Critic Score
    There is too little Ambrose/Posey interaction in the pilot, but in the second episode--when Coco moves in and the two start haggling over the surrogacy contract--Sherman-Palladino's knack for chick dialogue shows some of its old promise.
  5. Those who wade into Carrier might not want to be quitters, either, but after four or five hours, they may find they'd really rather be checking out who's survived on "American Idol."
    • 65 Metascore
    • 40 Critic Score
    Alas, although she's likable enough, Lovato just doesn't have the same sparkle as a Miley Cyrus--or an Ashley Tisdale, for that matter. And though her music is in the same dance-inspiring, easy-to-memorize mode as that of the "HSM" franchise, it's not as catchy.
    • 51 Metascore
    • 40 Critic Score
    If it had something truly new or provocative to say about such matters, the essential redundancy of Flashpoint could be overlooked--but it doesn't, and so it can't. These good guys are too good for their own good. And ours.
    • 60 Metascore
    • 40 Critic Score
    The show, though, never quite jells.
  6. Worst Week has the primal simplicity of a Road Runner cartoon but less depth and, of course, far fewer laughs.
  7. There are errant laughs floating around, but for the most part Gary Unmarried is Gary Unfunny.
  8. It has a promotable gimmick that could help it find a few fans--literally. If only the premise or the show were as bright as the light in the heroine's eyes.
  9. Momma's Boys is truly and sometimes horrifically fascinating, a deluxe example of sumptuous trash that takes the concept of "guilty pleasure" to a new extreme.
  10. The parts of the show that don't seem recycled from previous medical dramas seem recycled from previous crime dramas, with just a few changes of vernacular and gadgetry.
  11. It takes the stuff of legend and imagination and makes it dry and commonplace. You look forward not to the next exciting chapter, but for the whole enterprise to go "poof" and disappear.
  12. If only these little dears were fascinating, or at least more interesting than they are on the first installment. From the looks of the previews at the end of the hour, things will be heating up in future episodes, and the first might be viewed as a scene-setting preface to battles, tattles and conspiracies to come.
  13. Try as I might, Mad Men fails to resonate, settle in, tell me something. It can no longer get out of its own way so as to allow its multiple story lines to experience actual forward momentum. (Only the calendar does that.)
  14. HBO probably wants us to regard it as brilliant layering. But viewers who have three previous seasons' investment deserve Big Love's original (and more linear) sense of twisted heart and dark metaphor. Even the actors look alternately confused and pooped, empty shells of the characters they used to play.
  15. In the end, Leno is talented in the most mediocre of ways, and this gives viewers great comfort....There was nothing new, but there was a very happy man on stage.
  16. Poehler's show unfortunately isn't worthy of her. It's dry and hesitant when one longs for it to be raucous and madcap.
  17. Unfortunately, Defying Gravity will have to be listed as one of its well-intentioned mistakes, another of the many peculiar oddities churned out by broadcast and cable every year, every week, every moment of our earthbound little lives.
  18. They carry on like mischievous scamps, and while they are fun to watch up to a point, the point is reached well before the shenanigans peter out.
  19. The new series seems to share a perhaps fatal flaw of that now-canceled show, which is that the premise becomes so byzantine and the complications so arcane that eventually people just give up on trying to make sense of the darn thing.
  20. Packed with appealing actors (Peter Krause in the Martin role; Craig T. Nelson in Robards's paterfamilias role), this new Parenthood is boring, disorganized and weirdly missing the tender texture of its original source.
  21. Although Justified qualifies as cryptic, and its mouth is plenty potty, it definitely lacks edge, the most important quality of the three. In fact, it can get downright sleepy between killings. It moseys. It meanders.
  22. I just don't root for any of them, nor can I seem to work up the froth required to root against them. It's never been about how well they cook; it's about how well they cook with cameras around.
  23. Every setback endured by Vince and his entourage (box-office bombs; girl trouble) is smoothed over by the arrival of six-figure paychecks and the bromantic ideal. It's pretty to look at, but stagnant all the same.
  24. If you can tolerate one more word on the beaten-senseless subject of weight loss, then, and you don't mind hearing generic cliches yet again, you could conceivably become a Huge fan before the summer is over.
  25. The network has brought back Hart and Lawrence, who are both 34 (whoa!), in a sitcom called Melissa & Joey, premiering Tuesday night, which isn't half-bad. You could do worse--say, "Hot in Cleveland."