Washington Post's Scores

For 1,275 reviews, this publication has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 9.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 Curb Your Enthusiasm: Season 3
Lowest review score: 0 Scorpion: Season 1
Score distribution:
  1. Mixed: 0 out of 561
  2. Negative: 0 out of 561
561 tv reviews
  1. Telenovela is legitimately laugh-out-loud funny.
  2. "Entourage" returns with feathers fully unfurled, zooming and soaring across the Sunday-night sky and elevating escapism to dizzy new altitudes and basically untroubled new attitudes.
  3. Using the audio from the radio episodes and then supplying a sort of 1960s-style Hanna-Barbera wash of cheap animation to more fully illustrate the inanity of their conversations, Gervais has landed on something quite special that can be scorchingly funny.
  4. Angel abounds in the kinds of frills, luxuries and extras that make it a cheerfully guilty pleasure--and also, on occasion, a very bloody mess. [5 Oct 1999, p.C01]
    • Washington Post
  5. GLOW pulses with all sorts of potential talking points about gender, friendships between women and public perception of stereotypes, but rather than bogging itself down in prolonged messaging, it is consistently committed to a brisk pace and a lightness that reflects its subject matter.
  6. Nearly everything is done right, most conspicuously in the casting of Glenn Close as Patty Hewes.
  7. While Bright Lights bounces between past and present, Bloom and Stevens wisely allow the narrative to wander where it wants, mirroring the daily lives of their subjects. Where Reynolds is a study in keeping it together, Fisher gives lessons in letting it all hang out.
  8. The show seems somehow sleeker and better paced. Characters may now be people first and archetypes second. This has the subtle but immediate effect of making The Walking Dead less predictable and more frightening.
  9. Political Animals verges right up to the edge of ludicrous with the right combination of salty-sweet and silly-smart.
  10. 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
  11. It’s mainly an intelligent crime drama, and a real step forward for Sundance, which is bringing more original programming to its slate. As slow as it seems to go at first, you’ll be surprised at how quickly you’re addicted.
  12. Season 4 feels more like a drama than ever, and that’s not a bad thing. “Orange Is the New Black” has introduced a multitude of characters we don’t usually see on television and given them complicated and intimate relationships that speak volumes about issues not contained to prison’s impenetrable walls.
  13. The true accomplishment of Good Behavior, created by Chad Hodge and Blake Crouch (based on Crouch’s novel), is that none of this seems as hokey as it sounds. Dockery digs deep and gives a frenetic and often moving performance.
  14. The first six episodes (which I've watched, dutifully at times) draw you in but sometimes feel overstuffed, overproduced and weirdly gauzy where the series means to be an exercise in crisp, razor-sharp filmmaking.
  15. Better Things may not seem all that original, but it makes up for it with sharp pangs of family intimacy.
  16. Men of a Certain Age proves a powerful yet mercifully amusing experience--bittersweet, poignant and wise. It's not just a series, but something of a tonic.
  17. The show immediately finds just the right balance between challenge and pleasure.
  18. The show’s depiction of loss feels universal, but at the heart of Queen Sugar is a rich and powerful portrait of a black American family.
  19. The fact is, Harper's Island is a cunningly constructed, habit-forming mystery that makes for an intriguing departure from normal episodic television.
  20. It is a uniquely rendered creepshow that specializes in meaningful silences, emotional stress and dour moods. In so doing, it takes its place among recent miniseries that artfully elude their genres.
  21. The overall effect of Master of None is one of fullness and fun.
  22. Probably the savviest savage satire of the TV business since Paddy Chayefsky's barnstormer "Network" in 1976. [19 June 1999, p.C01]
    • Washington Post
  23. The mind reels with possibility, and even hope, which is why we keep coming back to stories like these.
  24. One weak link is fellow stand-up comic Michael Richards as Seinfeld's wacky neighbor. He isn't wacky or neighborly enough; it just doesn't work. But he's in the minority where "Seinfeld" is concerned. You may not convulsively guffaw, but you're bound to convincingly smile. Here's one that worked out just right.
  25. True Blood isn't meant to be an exercise in good taste. Just a romp and a wallow--and a bloody good one.
  26. Aquarius is a cleverly imagined and handsomely realized tale of an old-school, inherently corrupt police force feeling the rumblings of several social tremors at once.
  27. Despite the origins, the situations and dialogue are less infantile than a lot of shows that aren't based on comic strips, and the hero is given enough complexity that adults can conceivably be as engaged in his shenanigans as kids. [20 Sept 1990, p.D1]
    • Washington Post
  28. CW’s engrossing and remarkably adept drama Riverdale, a twisted but often satisfying alternative spin on the Archieverse
  29. My own enjoyment of The Killing begins and ends with the gloom so brilliantly conveyed by its pace and performances.
  30. At times, it's overboard and maybe a bit giggle-inducing, like watching little kids play dress-up. But overboard is exactly where Gossip Girl wants to be--and what viewers must embrace when taking the guilty plunge.

Top Trailers