Washington Post's Scores

For 994 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 10.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 The Larry Sanders Show: Season 1
Lowest review score: 0 Hidden Hills: Season 1
Score distribution:
  1. Mixed: 0 out of 404
  2. Negative: 0 out of 404
404 tv reviews
  1. No one will accuse 'Brooklyn Nine-Nine' of too much authenticity, but it does have a confident breeziness in its banter that almost immediately locates a ['Barney Miller']-esque balance in the more absurd aspects of law enforcement.
  2. 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.
  3. Though the series drags whenever it becomes bogged down in political aspects of the fight, it’s inherently entertaining to see such back-stabbing, and possibly literal stabbing, between supposed loved ones.
  4. [An] ambivalent but mildly engrossing new docu-series.
  5. It’s rare to see a show get its style so right and its story so backwards.
  6. Yet another dystopian vision with Steven Spielberg's brand name affixed to it (as executive producer), this time as a cheap-looking but occasionally intriguing sci-fi social study called Falling Skies.
  7. There's perhaps the coppiest cop show of the century so far, the soppy and self-satirizing CBS melodrama Blue Bloods, about an entire family--"the Reagans" yet!--involved in the crime biz.
  8. 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.
  9. Gripping.
    • 70 Metascore
    • 50 Critic Score
    Somehow, even after following these girls from ninth through 12th grade, Confidential manages to make their stories boring.
  10. It isn't high literature nor even perhaps high television, but In Treatment does have a welcome, and occasionally riveting, pulpy streak, perhaps inevitable with its promise of peeks behind doors that usually remain closed.
  11. It's not quite sci-fi, not quite fantasy, and yet not quite realistic either. It's not quite a show, is what it's not quite...You may get an urge to take a hike too, but pity the poor critic who has to sit there with a big grin on his face and watch the whole stupid thing. [10 Sept 1993, p.G7]
  12. The show is jumpy, jerky and scattershot. It has the personality of a nitrous oxide abuser. [21 Mar 1995]
    • Washington Post
  13. While the film could not be called a rollicking success, it seldom if ever pauses long enough to be ordinary, complacent or conventionally minded.
  14. A smart and funny sitcom....Heaton is splendid as Heck, with a high-profile supporting cast.
  15. This is no run-of-the-mill production, but it falls under the heading of "acquired taste." The main inducement to acquire it is to watch Gugino have her way with the title role.
  16. For a while you can sense Hannibal’s noble urge to stick to a long story arc--why does there have to be a new case every episode?--but eventually it gives in to a proven formula.
  17. Writer-director Murphy seems willing to do anything to startle viewers and introduce outrageous elements into the script, but as he pushes the envelope up, down, backwards and sideways, the characters become less and less believable. It becomes shock for shock's sake and, in addition, extremely overwrought, with lots of screamed accusations and lamentations.
    • 70 Metascore
    • 80 Critic Score
    Showtime's subversive new offering is smart, funny, human and truly likable.
  18. It's strange how a show meant to generate excitement and promote thriftiness can leave one with a sense of remorse and shame.
  19. Louie intelligently harnesses the dark cloud that follows a truly funny man everywhere he goes.
  20. The show seems weightless in the good sense, breezy and airborne, with a brisk and flippant style that's instantly attractive. [12 Sep 1992]
    • Washington Post
  21. Virgin Territory isn’t lurid or easily embarrassed. That’s (sometimes) the wonderful thing about this social-network generation: They’ll talk openly about anything, everything.
  22. Steinberg... appears to be having a good time, and that helps a lot.
  23. There's a tender and no-nonsense tenor to it, which is a welcome switch from most of reality TV's junky tropes.
    • 69 Metascore
    • 50 Critic Score
    The dialogue, while quick, has all the calculated bite of a smirky cellphone commercial, veering into jokes about Ben Affleck and "The Breakfast Club." The grading scale here is strictly Pass/Fail. Its preseason hype aside, Community needs to buckle down to survive the semester.
  24. Halt and Catch Fire suffers from a common case of style over substance.
  25. 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.
  26. Without feeling like it's leading us on, Rubicon is a tightly woven and urbanely acted tale for people who like to mull.
  27. Part of the joke is that The Spoils of Babylon was utterly unwatchable, and that’s why the network never showed it; it seems they achieved that goal a little too well.

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