Washington Post's Scores

For 1,303 reviews, this publication has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Arrested Development: Season 2
Lowest review score: 0 Just the Ten of Us: Season 1
Score distribution:
  1. Mixed: 0 out of 577
  2. Negative: 0 out of 577
577 tv reviews
  1. Even if many elements of "Vampire Bats" seem, to say the least, familiar, director Eric Bross and writer Doug Prochilo still deliver some darn good frights.
  2. Coven is the first time American Horror Story gets started with the unmistakable feeling of timecards being punched, as an ensemble of big-name stars dutifully carry forward the show’s trademark fixation on style over substance.
  3. Scouted gives the first impression of merely being a show about models, it turns out to be a watchable session of human sacrifice lite.
  4. It is, as always, beautifully filmed and patiently assembled. Everyone in it clearly believes in the project (and the city) down to their bones, even if the writers have shortchanged their best actors this time. What comes through most is a feeling of over-indulgence--one drink too many, one plate of etouffee too far, one too many hangovers and five too many episodes of an otherwise memorable series.
  5. Basically a smart and sophisticated situation comedy -- and yet it is still not as good or endearing as its star. [26 Feb 2003]
    • Washington Post
    • 64 Metascore
    • 60 Critic Score
    The show is just silly enough -- and Silverman is just appealing enough, for once -- to cultivate at least a cult audience.
  6. The first four episodes of this new season have the same raw and gritty-cool feel as the first season's (it takes no time at all for Dunham to bare her now-famously doughy naked body in a sex scene), but the show has become significantly more predictable.
  7. Looking for a show to stave off "ER" withdrawal? Have Mercy; it's (you'll pardon the expression) strong medicine.
  8. Vice seems to be in search of some sweet spot between “60 Minutes” and “Jackass,” and there’s enough here to suggest that such a spot may exist. The concept could work, especially if Smith and his correspondents were more inclined to point the cameras away from themselves.
  9. Ascension is a handsomely made riff on an irresistibly interesting story pitch.
  10. In its imperfect stab at capturing the ’70s, the show never stops resembling a bad costume party, as if HBO held a fire sale after its extravagantly doomed record-label drama “Vinyl” was canceled and “I’m Dying Up Here” bought up the entire stock. It seems HBO threw in “Vinyl’s” structural and tonal problems free of charge.
  11. West Wing is not a dramatic powerhouse as it gets off the ground tonight but, indeed, it does get off the ground. There are good performances, crispy-crunchy lines of dialogue and a few sizzly sparks. Subsequent episodes will have to improve on the premiere, however, if there's really going to be anything must-see-ish about the show. [22 Sept 1999, p.C01]
    • Washington Post
  12. For its epic investment, Living in the Material World still feels like only part of the story.
  13. It’s as watchable as ever, and also as unsatisfying as ever, as it veers toward the helter-skelter.
  14. Boasts the strongest cast of any new sitcom.
    • 68 Metascore
    • 60 Critic Score
    There are shades of "Swingers" -- that 1996 indie hit starring Jon Favreau and Vince Vaughn -- all over this show, but it gives up much of what "Swingers" had in heart in exchange for heavier satire. Think "Swingers" if Vaughn finally did make it big and the other guys gave up their dreams and just went along for the ride. [18 July 2004, p.N01]
    • Washington Post
  15. The script can be remedially hokey, but Saldana turns in a feisty and believable performance as a mother fighting for the life of her unholy spawn.
  16. A first-rate movie thriller has been turned into a second-rate TV show, but upper-second-rate, not lower. And among this season's new entries, with one or two exceptions, second-rate is about as good as things get. [16 Sept 1995, p.D01]
    • Washington Post
  17. It's not an easy task to figure out where the thing is going, but it is intriguing watching it go there.
  18. Like "Twin Peaks," it raises questions that it doesn't necessarily answer--but even the raising took a bit of daring, and "a bit" is more than one usually gets from television.
  19. ALF himself is funny enough to keep the show bubbling. He has a sardonic insouciance. [22 Sept 1986, p.C1]
    • Washington Post
  20. An agreeable comedic hour that makes no intimidating demands. [18 Sep 1985]
    • Washington Post
  21. "Ocean" follows the reality-show formula perfectly, and it's hard to look away from this piece of pretty puffery, made even more attractive by the slick documentary style that makes "Laguna Beach" so appealing.
  22. Viewers who stuck with Peter Pan Live! for three hours were treated to a technically adequate, charmingly performed night of retro theater-on-television.
    • 63 Metascore
    • 60 Critic Score
    Undercovers is watchable only because of its stars, whose chemistry recalls the fonder days of "Hart to Hart"-style high jinks.
  23. A likable but largely forgettable comedy.
  24. Well, here's "24" again, with a renewed sense of dot-connecting purpose (fictional, yet symbolic) and a two-night premiere, Sunday and Monday -- a rollicking four-hour chunk in which the series seems on track to rediscover some of its original verve.
  25. Circus has no difficulty finding all the usual, romantically enthralling ideals contained within circus life, which unfortunately causes a lot of the series to feel predictable.
  26. Luck is suffused with brilliant acting and amazing scenes, but in a few unfortunate ways, it remains impenetrable almost until its last hour.
  27. The show is best when it busies itself with messy bucolic details--the milking of goats, the shearing of llamas, the wallowing of pigs--instead of wallowing in the dysfunctional mud and frantic entrepreneurism that render Josh and Brent blind to the beauty and love around them.

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