Washington Post's Scores

For 1,028 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 10.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 54
Highest review score: 100 House: Season 1
Lowest review score: 0 Saint George: Season 1
Score distribution:
  1. Mixed: 0 out of 426
  2. Negative: 0 out of 426
426 tv reviews
  1. I just don't root for any of them, nor can I seem to work up the froth required to root against them. It's never been about how well they cook; it's about how well they cook with cameras around.
  2. The film is overwrought and wearying, salvaged mainly by its occasional gory details and a few enjoyably hammy performances.
  3. Wilfred would appear to be crafted from a can't-miss, indie-hipster aesthetic, which may be part of the problem: The show is cool to the point of being cold. The bark is all snark. It doesn't work.
  4. Once you strip down the predictable jokes (Will teaching Marcus about “the bro code of silence”; letting Marcus eat forbidden barbecue ribs), you’re left with a banal arrangement of gender and social stereotypes.
  5. Buoyed by scalpel-sharp writing and even keener performances, The Big C (created by comedian and sitcom writer Darlene Hunt) walks a fine line of having it both ways. It's for people who are repelled by the warm-fuzzy, disease-o'-the-week dramas of cable television.
  6. So far, several story lines of small-town secrets and drama have fanned out and fizzled, making it hard to tell if “Bates Motel” wants to be compellingly chilling or just tediously unnerving.
  7. For all the rewriting and reworking, the show needs a better premise and funnier dialogue and, most of all, a more commanding performer in the starring role.
    • 67 Metascore
    • 70 Critic Score
    Bravo is gambling that there's at least as much interest in the rooms we live in as the food we eat and the clothes we buy. And judging by this show's high points, that's one safe bet.
  8. HBO's The Sunset Limited--faithfully adapted from Cormac McCarthy's 2006 play and directed by its co-star, Tommy Lee Jones--more than overcomes the challenge of getting a satisfying piece of theater to work on a TV screen.
  9. Too Big to Fail has momentum and a certain wonky remove, but is too epic in scope, as Gould's script struggles to match the breadth of the original journalism while the actors try to convince us that they understand all their lines.
  10. Sometimes it’s fun to get utterly lost in a drama like this; sometimes it’s better to turn around and keep driving.
  11. The old clips are still a hoot, but there's a limit to how much compressed air a viewer can take, listening to a bunch of old men talk about how funny their friend was.
  12. 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.
  13. Here and there, The Company is so evocatively dark and creepy it approaches the artistry of a John le Carré thriller, at least as adapted for TV back in the '80s and '90s.
  14. That path [Will Ferrell/Jack Black/Zach Galifianakis school of oddballery] is fairly well trod at this point, as is the "New Girl" vibe Ben and Kate reaches for. Some funny lines still manage to peek through.
  15. Encumbered by a script that is nearly breathtaking in its imbecilic banality, The O.C. makes one long for the cold comforts of a sleazy-minded "reality" show. Fox is trying to pass off this moody, moon-faced trifle, a drama about rich young brats in Orange County, Calif., as the first series of the new fall season (in August?). But if there's any justice left in television, "O.C. will be canceled by the time the actual fall shows premiere. [5 Aug 2003, p.C01]
    • Washington Post
  16. All of these characters and situations are mildly interesting, but it's difficult to know from just a couple of episodes if they're ever going to become desperately interesting.
  17. One of the most endearing new comedies of the year.
  18. The Event is an intentional mess, daring you to go wherever it thinks it's going. Within the first five minutes, potential viewers will have to make their own personal choice: Am I up for this?
  19. Moving up to the big time, and relocating to the earlier time slot, seems to have robbed Conan of much of his charm. Much--but not all.
  20. Lilley's script and performances are rife with recognizable personalities, neuroses and human absurdities.
  21. A largely dreary dirge.
  22. If it isn't pure gold, it still has bright, shiny moments--and unlike so much of what's on TV these days, it's much more likely to make you laugh than cry.
  23. An outstanding crime drama. It has all the trappings of a good show and then, of course, one staple of a great one: An absolutely terrific star in the lead role. Kathryn Morris can go through my files anytime. [27 Sept 2003, p.C01]
    • Washington Post
  24. It’s a live-action comedy that often moves and thinks like a cartoon, to great effect.
  25. Schumer’s sharpness comes through best in such moments, when she’s in stand-up mode and taking significant risks beyond the genre’s still-customary boundary lines of gender.... Meanwhile, her sketches and woman-on-the-street interviews with passersby feel burdened with the task of pleasing a male audience (while enlightening them a scoch).
  26. Hawaii Five-0 is a big bag of dumb fun, with a story told as tautly and smoothly as the surface of a Polynesian drum.
  27. A particularly taut and well-structured pilot episode lays out McCord’s essential struggles, while Leoni delivers a calm, cool and wry performance.
  28. The pace is languid and the ambiance laconic. Easy Money isn't the kind of show likely to clean up at Emmy time. But it has the same sort of eccentric, addled charm that marks an increasing number of current television shows.
  29. In the first four episodes, there isn't anyone or anything to root for, other than history's corrective hand.

Top Trailers