Washington Post's Scores

For 1,310 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 8.9 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 581
  2. Negative: 0 out of 581
581 tv reviews
  1. Those who wade into Carrier might not want to be quitters, either, but after four or five hours, they may find they'd really rather be checking out who's survived on "American Idol."
    • 74 Metascore
    • 70 Critic Score
    New technology is good. The latest educational research is good. This new crew is a superhero team we could support--even if we don't quite understand how Wordball solves crimes. None of that was ever what the original "Electric Company" was about, though.
  2. This new, more mild Upstairs Downstairs, which makes its American premiere on PBS on Sunday night, is a three-part epilogue that feels more like an unfinished afterthought.
  3. The show has a happily palpable likability going for it, a lot of that courtesy of Zachary Levi, who plays the unlikely and in fact unwilling hero.
  4. The new episodes push the saga in a few initially intriguing directions, but the cast keeps expanding into an overpopulated mishmash of disparate story threads that no longer weave together as a whole.
  5. 'Klondike' is not going to win awards for its lackluster screenplay and penchant for melodrama, but it does have some of the plucky energy you’d enjoy at one of those faux-saloon dinner theaters, where the gradations between good and bad hardly exist. It comes across almost like a musical without any songs, and before long, you’re swept up in its crisp visuals and steady pace.
  6. While it's not perfect, Bunheads is a happy find, a ray of authenticity on a summer TV schedule filled with so much artificial light.
  7. Most of History of the Eagles is rich in detail and bemused reflection, perhaps because sobriety has worked wonders on some of the band members’ sense of recall. Frey, Walsh and Don Henley are wonderful storytellers.
    • 74 Metascore
    • 50 Critic Score
    The alleged humor is so broad as to make one wince -- if not recoil. [10 Aug 1996, p.C01]
    • Washington Post
  8. I’m therefore hesitant to write Westworld off as a dreary trot from start to finish; parts of it are as imaginative and intriguing as anything that’s been on TV recently, particularly in the sci-fi realm. It’s definitely not the cyborg “Deadwood” that some HBO fans were actively wishing for, nor does it roll out the welcome mat as a riveting, accessible adventure.
  9. An intriguing but often clumsy new movie about the making of the TV show.
  10. Tiny flaws come close to undermining the success of Game Change as a mere film.
  11. Humans does have that pleasingly antiseptic feeling of euro-cool about it (think of how the Benedict Cumberbatch “Sherlock” series looks, or BBC America’s “Orphan Black”), which can sometimes lure viewers into the belief that they’re watching something classy and sophisticated, when really they’re just snacking on the TV equivalent of rice cakes.
  12. Elementary exhibits enough stylish wit in its mood and look to quickly distinguish itself from the latest British "Sherlock" series.
  13. Despite the prestigious presence of stars such as Harvey Keitel, Michael Imperioli, Lisa Bonet and Gretchen Mol, Life on Mars, a new ABC crime drama, comes off as naggingly undistinguished.
  14. Viewers who like to tiptoe over to the dark side now and then--at least once a week--are bound to find Walt White's wonderland of woes worth a visit or two, or many more.
  15. In other hands, I Love Dick could be too much to take, but Gubbins, Soloway and the show’s writers are satisfyingly skeptical of intellectualism, art, the Marfa milieu and the self-absorption that consumes their characters. The show can be quite instructive on the basics of art theory and gender studies, but, at the same time, it also works as a sendup of people susceptible to their own B.S.
  16. What it lacks in edge, it makes up for in charm.
  17. Barry takes off so fast that a viewer hardly gets a chance to know him--or care much about where he’s headed.
  18. Where the original series had a clear through line and a strong sense of the grief that surrounds murder, the new Broadchurch unsuccessfully juggles several more plots and characters, grafting an older case onto the (surprisingly still ongoing) Latimer case.
  19. The show seems markedly improved from its earlier efforts and somehow more confident in its writing and sense of nuance. It's also funnier.
  20. The meandering approach does manage to excavate some fascinating tales and memories.
  21. The show makes an admirable effort at transcending gayness without compromising it. Groff is fine but not fascinating as the naive yet manipulative Patrick, and Alvarez gives Agustin a certain bohemian flair. The real standout--and best-realized character so far--is Bartlett’s Dom. Actually, the more I think about it, the show’s real standout is San Francisco itself.
  22. The show is also refreshingly entertaining, even when it relies on familiar cliches of the singing-competition genre.
  23. There is absolutely nothing new about anything seen here and yet Arrow has nice aim.
  24. Snail-paced and difficult to relate to, Parade’s End feels twice as long as its total running time. And yet it’s an exquisite and thoughtful sort of slog, with sound British pedigree and bone structure.
  25. Orphan Black has the same plain club soda flavor you get in most cable action dramas now, but I have to say that I’m enjoying some of its fizz.
    • 73 Metascore
    • 30 Critic Score
    The show seems to have ambitions and glimmerings of quality, and the acting, outside of the toe-curlingly awful dialogue, is not bad at all.
  26. Judging only the pilot episode, the banter between them (Dean Winters and Josh Duhamel) can be fun and Gilligan’s influence lends a nice, creepy sheen to the notion that menace lurks anywhere, even (or especially?) in the upper Midwest.
  27. A dreary thing it is, and depressing, too.

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