Washington Post's Scores

For 1,326 reviews, this publication has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 9.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Orange is the New Black: Season 1
Lowest review score: 0 Saint George: Season 1
Score distribution:
  1. Mixed: 0 out of 589
  2. Negative: 0 out of 589
589 tv reviews
  1. By episode six, Flaked throws a real curve that’s nearly worth seeing through to the end, as Arnett’s performance deepens and the show becomes something more than just an excuse to loaf. The problem is getting there.
  2. Thrilling and occasionally provocative.
  3. The Real O’Neals has some fun with Catholicism, but faith isn’t the butt of the joke in the show, which is ultimately an endearing story about a family that loves and supports one another. Go figure.
  4. Netflix’s 13-episode revival of the old ABC sitcom “Full House” is less an update than an irony-free pantomime of the past.
  5. King’s work doesn’t always happily travel through the portal connecting the page to the TV screen, but Hulu scores with an impressively stout-hearted, eight-part adaptation of “11/22/63.”
  6. If the point is to spare no expense in attempting to make a flawless, fascinating premium cable narrative about a set of people--mostly men with enormous egos--who have extreme and often criminal problems in a glamorous period setting, then this is precisely what HBO has accomplished--again.... Through characters like Devon, Jamie and Lester, Vinyl has very thoughtfully dotted its i’s and crossed its t’s in terms of diversity, but testosterone is still clearly HBO’s most addictive (and preferred) substance.
  7. Dreyfuss gives a performance that is merely serviceable rather than memorable, while Danner copes with a version of Ruth Madoff that seems regrettably underwritten and underexplored. (Same goes for the sons.) The story is still quite a corker, though--certainly enough to fill four-ish hours of prime-time commercial television, filled with sadness and schadenfreude.
  8. The People v. O.J. Simpson isn’t flawless, and it probably won’t stand up to the sort of factual scrutiny that still swirls around its subject matter, but it is ambitiously imagined, surprisingly responsible and practically unerring in tone and pace.
  9. It’s hard to believe that Grease was once subversive; what viewers saw on television Sunday night seemed somehow cleaner and more perfunctory and cute. It was a fabulous, well-scrubbed and flawlessly executed show that could have been just a little bit greasier.
  10. A fun but slow-going experiment in end-of-the-world gallows humor.
  11. Ultimately, Handler’s documentary functions more as a way to justify her brand of humor than to offer a fresh take on how we talk about race.
  12. The pace and writing are meaningful and sometimes verge on elegant, as Outsiders patiently explores the power dynamics in the town and the strange world on the mountaintop above.
  13. It’s good to know there’s something more to Baskets than a creep in greasepaint. The delicious misery here is evenly spread.
  14. After a skittery and slightly tedious start, which is heavy on Carter’s need to keep infusing Mulder and Scully’s world with a convoluted master theory, The X-Files settles in and starts to relocate some of its creepy vibe and playfulness.
  15. The first six episodes are so coolly, brilliantly executed (and flat-out fun to watch) that I found myself just reveling in their tone and craft. The show’s other co-creators--Brian Koppelman and David Levien, whose screenwriting credits include “Ocean’s Thirteen” and “Rounders”--have delivered a compelling and remarkably original story that is filled with florid, entertaining dialogue that ricochets from scene to scene.
  16. Mercy Street’s problem is an ineffable lack of cohesion and oomph. The blood is spilling, but the heart’s not pumping.
  17. Aided by a strong script that seems to recognize this [Next to fear, sadness would of course be the overwhelming shared emotion if some otherworldly force disrupted our social order.], Holloway and Callies come across as characters who know the real depth of a doomed world.
  18. Shades of Blue certainly isn’t shy about hauling out some of the tropiest tropes about cops who find themselves wearing a wire. Still, there’s something compelling and worth watching here--mainly Lopez’s enthusiastic and determined performance. Liotta also has a lot left to give.
  19. There’s something almost revolutionary about the complex and utterly human teenagers that Ridley has conceived here and that his young actors bring to life. This season will get right under the skin of parents who worry too much (or not enough) about their kids.
  20. Cooper Barret is more enjoyable as a comedy about a group of friends than a bro-tastic survival guide for clueless millennials. If the show can figure that out, it might have something more to teach us.
  21. The show is off to a good start with its timely humor.
  22. These final episodes of "Downton Abbey" are among the show’s best since the first season.
  23. Making a Murderer is at its best when it taps into our collective fascination with the grisly details of a story that may read like fiction, but isn’t.
  24. Real Rob has elements of “Louie” and “Curb Your Enthusiasm’s” heightened reality, but the only thing that sets it apart from its predecessors is that it’s not very good. Unfunny scenes are broken up with equally unfunny stand-up.
  25. Frank’s screeds will be familiar to anyone who has caught Burr’s superior stand-up act, but something gets lost when bringing that voice and sensibility over to a scripted, animated format. F Is for Family spends too much time working itself up to a full boil--which arrives only in the last episode-and-a-half.
  26. A plainly told, tenderly acted and well-intentioned two-hour movie.
  27. Telenovela is legitimately laugh-out-loud funny.
  28. It was well-cast. The costumes were beautiful, and the set design vibrant. And the music was excellent.
  29. The special isn’t as funny or inventive as one might hope. The set-up is cheesily self-aware.
  30. Slapsticky and hollowed-out.

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