Washington Post's Scores

For 1,004 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 10.7 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 Happy Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 410
  2. Negative: 0 out of 410
410 tv reviews
  1. Downton Abbey comes back stronger and more muscular this time, with intriguing and shocking new plots that provide a bit of vital momentum and an uncharacteristically wrenching dose of tragedy.
    • 44 Metascore
    • 70 Critic Score
    With its fresh premise, the show could be a welcome oasis to viewers who are weary of animation, reality or even football.
  2. Not everyone is going to respond to its purposeful languor and subliminal intent. Winslet is at once wonderful and yet enigmatically blank--very much as written in Haynes's and Jon Raymond's screenplay.
  3. What makes Teach: Tony Danza worth watching are the teenagers themselves and the glimpses of other teachers who make the place work. Danza, meanwhile, becomes an irritating, whirling, self-aggrandizing bundle of nerves.
  4. The overall effect is pleasing, light, cheerful.
  5. Tiny flaws come close to undermining the success of Game Change as a mere film.
  6. Frasier at this point seems much more amusing when he's at home contending with his father than when he's at the workplace fielding phoned-in woes. But wherever he is, he's clearly in good hands -- the hands of old pros who still have the brash enthusiasm of young Turks. [16 Sept 1993, p.C1]
    • Washington Post
  7. Spin City is firing on all cylinders. It's a slick little contraption custom-built by professionals, and if it's not exactly full of surprises, at least it's roaringly competent. [17 Sept 1996, p.B01]
    • Washington Post
  8. As stupid as it looks, and as much as you can hate yourself for watching, it's a complex show about the nature of sin. There's a tendency to examine it too cerebrally in that regard, to think of Jersey Shore as pure performance art. Sometimes critics can be wrong in typing too many words.
  9. The first half of Vito plays almost like a 45-minute "It Gets Better" ad. [Then] Vito exchanges its subtle storytelling technique for a sobering session of gay rights homework, resembling a recent raft of documentaries about the early years of the AIDS crisis.
  10. It's a pleasant mix of a little "Juno" hipitude and a lot of "Everwood" glow, and just when it comes dangerously close to feeling like an excessively cool tampon commercial, its characters compel you to keep watching.
  11. The show feels new again, but that doesn’t mean it feels fully refreshed, nor is it immune to painting itself into the same sort of corners it got stuck in before.
  12. The meandering approach does manage to excavate some fascinating tales and memories.
  13. The better parts of The Strain will unsettle viewers with this new species of monster.... The first couple of episodes seem as if they’ve been assembled from a kit that’s missing a few nuts and bolts; by the third and fourth episodes, however, a viewer gets a much better sense of The Strain’s style and bite.
  14. Muhammad Ali’s Greatest Fight, which is based on a book by Howard L. Bingham and Max Wallace, is best when it revels in the astonishing whiteness and occasionally ridiculous ways of yesterday’s high court.
  15. An addictive frolic for summertime.
  16. A solid yet initially disturbing new drama.
  17. Da Vinci’s Demons breezily and capably finds a balance between amusing wit and dour drama.
  18. A strange and somewhat delightful animated comedy.
  19. There’s not a lot of plot to be had here, and the news that Clear History leaned heavily on the improvisational impulses of its cast might usually ward off the improv-weary. But Clear History has a nice, confident and well-edited breeze to it (including a lot of jokes about the band Chicago), with a fun cast that includes standout riffs from Michael Keaton, Danny McBride and Eva Mendes.
  20. It isn't innovative or brilliant, but there's some kind of joy to be had from watching the parts of the machine fit together just right and operate slickly and smoothly.
  21. Baker and his wily line readings and intimidatingly sly stares can snap the show out of occasional stupors.
  22. It’s a fast-paced shoot-’em-up/blow-’em-up affair (with the usual ridiculous disregard for actual public safety), but beneath the noise and oozing machismo, it’s not half bad as a deeper emotional story about family and trust.
  23. The production is nothing if not rich, awash in muted hues, populated with rivetingly complex characters and yet disappointingly low on spectacle.
  24. What lifts "Evidence" well above the clamor of standard cop shows is the charisma between its two male leads.
  25. Although it starts out on a glib, dopey note--as "Mission: Preposterous" crossed with "Ocean's Eleven"--the new TNT series Leverage develops with surprising swiftness into a decent, watchable action drama about wrongs being righted and bad guys getting what's coming to them.
  26. Mamet offers a kind of thinking person's war movie for a nation that is, indeed, at war.
  27. "Brewster" improves on the original and has the look of a warmhearted winner. ... It's corny, it's old-fashioned, it's predictable, and it works. [1 May 1990]
    • Washington Post
    • 62 Metascore
    • 70 Critic Score
    There are no big tricks, no screaming fireworks, no shocking pull-back-the-curtain exposés on "The Hill." Instead, it's a solid and useful look at some smart, passionate people trying do something they think is right.
  28. The result was assured, quick-paced and enjoyably flavored with a few spicy dashes of Brian Williams's dry rub.

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