Washington Post's Scores

For 1,304 reviews, this publication has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 Big Little Lies: Season 1
Lowest review score: 0 The War at Home: Season 1
Score distribution:
  1. Mixed: 0 out of 577
  2. Negative: 0 out of 577
577 tv reviews
  1. Halt and Catch Fire suffers from a common case of style over substance.
  2. 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
  3. 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.
  4. Steinberg... appears to be having a good time, and that helps a lot.
  5. 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.
  6. 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.
  7. Without feeling like it's leading us on, Rubicon is a tightly woven and urbanely acted tale for people who like to mull.
  8. 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.
  9. The premise of this new series seems charmingly assembled from leftover "Magnum P.I." and "Spenser for Hire" polyforms kept in a storage bin somewhere.
  10. Everything about The Mindy Project is so very Kaling and happily spot-on, starting with the strength of the jokes and dialogue.
  11. The pilot episode is laden with so much setup for countless other characters that the network should have supplied a flow chart.
  12. Noble endeavor, bad movie...Has the unfortunate aura of something patched together by a committee, and when all is said and done, it seems less like a movie than a position paper on film.
  13. 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.
  14. It may be a case of going too far but in such a crazy-daisy way that it can't help but be entertaining. [2 Oct 2004]
    • Washington Post
  15. The first episode is serviceable but offers little that would persuade viewers who’ve already seen another adaptation to commit to this one, because, frankly, there’s not much new to see.
  16. Timbaland produces the original songs that give Empire its real oomph, while the actors try to figure out what kind of characters they’ve agreed to play.
  17. The set-up is fine and the humor is mostly mac-and-cheese-flavored, but the first few episodes of The Jim Gaffigan Show struggle to nail down the “Modern Family”-like precision that seems to be the desired goal.
  18. Freak Show is certainly telling a weird story, but it’s not all that scary and, worse yet, the characters are already launching into tedious monologues about civil rights for geeks.
  19. 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.
    • 69 Metascore
    • 40 Critic Score
    There are things to like about the new Showtime series "Soul Food" ... It's just that the writing, the editing and the camera work are not chief among them. ... The series's aims are laudable. But ultimately, it's the execution, not the intent, that will make it a meal. [28 Jun 2000]
    • Washington Post
  20. It is a little better than most other sitcoms, past and present -- especially those featuring wacky urban friends in their twenties experiencing the bittersweet mysteries of life.
  21. [An] unspeakably cutesy romantic drama. ... Not to sound like the world’s biggest fuddy-duddy, but the first episode of No Tomorrow plays too easily as millennial claptrap.
  22. A ribald but bumpy road-trip comedy that wants to be more than just a slapstick retread of “National Lampoon’s Vacation” (which already got a retread last year in theaters). But after several episodes, the show can’t quite find its way.
  23. For now, The Get Down is an exercise in glorious imperfection; it’s got the beat, but it’s still grasping for the tone.
  24. All the tropes are present and accounted for, but they’re beautifully played out.
  25. 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.”
  26. The premiere episode is smart and tense, the TV equivalent of the book you can't put down. [23 Sep 2002]
    • Washington Post
  27. My own enjoyment of The Killing begins and ends with the gloom so brilliantly conveyed by its pace and performances.
  28. Trying too hard to play it ultracool, Patriot’s first few episodes are overloaded with distractions and flourishes; the show takes its own sweet (but enjoyable) time to find its stride. And viewers are running low these days on that kind of patience, even if Patriot is worth indulging.

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