Washington Post's Scores

For 918 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 Sopranos: Season 6
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 365
  2. Negative: 0 out of 365
365 tv reviews
  1. The show is so tight--maybe too tight--that it starts to choke on its own power-tie premise in the first three episodes.
  2. 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.”
  3. It’s difficult to escape the show’s plasticky veneer and misplaced exuberance.
  4. An ambitious--yet disappointingly stiff--staging of the original musical.
  5. 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.
  6. 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]
  7. 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.
  8. 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.
  9. 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.
  10. No one can survive Surviving Jack’s hollow and formulaic dialogue, which is bursting with jokes that are half-funny at best.
  11. 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.
  12. 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.
  13. It’s rare to see a show get its style so right and its story so backwards.
  14. Halt and Catch Fire suffers from a common case of style over substance.
  15. 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.
  16. 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.
  17. 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]
  18. 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.
  19. Sometimes it’s fun to get utterly lost in a drama like this; sometimes it’s better to turn around and keep driving.
  20. 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.
  21. An ambitious but ultimately weak attempt to set an ensemble drama inside Hugh Hefner's hallowed, smoke-filled nightclub of early 1960s Chicago.
  22. The show vacillates between hokey and clever as it mines the Brothers Grimm for contemporary analogues.
  23. A new but forgettable TV treatment for an old story, with results that look very "CW."
  24. Nothing about Sean Saves the World is off-putting, but not much about it is welcoming either.
  25. 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”).
  26. Where the previous movie aspired to be a camp classic, "Martha Behind Bars" takes itself more seriously, and less entertainingly.
  27. She's not bad, just flat; not annoying, just weak.
  28. It's a shame so much of the show is annoying, because it offers occasional small moments of enlightenment.
  29. 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.
  30. At least [it] has possibilities and a good excuse for a giggle now and then.

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