Sioux City Journal's Scores

  • TV
For 264 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 4.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 71
Highest review score: 100 What We Do in the Shadows (2019): Season 3
Lowest review score: 25 Almost Family: Season 1
Score distribution:
  1. Mixed: 0 out of 182
  2. Negative: 0 out of 182
182 tv reviews
  1. While the first two episodes of season two are too enamored with getting players in place (particularly since season one ended with a house cleaning), “The Morning Show” does pick up steam and gets everything from the Iowa Caucuses to a visit to Wuhan in the picture. ... Crudup, though, is the heart of this world. As corrupt as he may be, he’s worth following.
  2. Switching back and forth in time, “Impeachment” doesn’t light often enough to give us anything really substantial. ... Paulson and Feldstein are spectacular when they’re together. But when this splits them apart, it loses its intention.
  3. A series that scores inning after inning. “What We Do in the Shadows” is a clear comedy league leader.
  4. Harjo and Waititi take their time painting the picture. They introduce outsiders (who stereotype residents) and give us a strong sense of what it’s like on the inside. ... “Reservation Dogs” is the comedy you never expected but may just need. It’s powerful dive into a world that’s oh-so deep.
  5. [Paris Jackson and Kaia Gerber] hew closely to “Scream Queens” and push the envelope with scenes that explore their sexuality. Their acting abilities may be similar to their parents’ at the same age, but they pair well with McCormick, who seems more mature than anyone in the house. Bomer and Creel, oddly, don’t seem to fit in this setting. They embrace the humor but can’t quite promote the terror. ... Tveit does a much better job of straddling the “AHS” worlds.
  6. Directed by Brian Volk-Weiss, the often irreverent documentary moves as quickly as a roller coaster and excites twice as much.
  7. Sudeikis continues to inspire in untenable situations. Season Two throws out plenty of them and lets the fish out of water swim more than sink. A big chunk of the supporting cast earned Emmy nominations and it’s easy to see why – particularly when they’re made the focus of entire episodes.
  8. White uses sly humor throughout the series and gets his best results from Bartlett, who unravels in unusual ways. He captures the manager’s approach beautifully and has plenty of fun getting even.
  9. Thanks to some inspired choreography by Christopher Gattelli, “Schmigadoon!” is as excitable as its exclamation point and just as worthy.
  10. It’s cute. But “Monsters at Work” might need a little more retooling on the scripts. They’re a laugh-a-10 minutes.
  11. More confident than the first season, this “Dave” shows a side of the fictional Burd that’s more believable. ... While “Dave” embraces too many guest stars, it doesn’t shortchange GaTa (the show’s stealth weapon) or Burd. Burd, in fact, is a much better actor this time out. ... “Dave” really soars on the backs of its unexpected stars.
  12. “Hacks” is her [Jean Smart's] master class – a series that showcases just how much she can add to anyone’s work. ... “Hacks” nicely fills the void left by “VEEP.” It, too, is acerbic and on point. ... While “Hacks” may be a harsh title for something this deliciously good, it captures the price some are willing to pay for celebrity.
  13. When Federle brings in the North High cast (also competing for the big “Menkie” award for school productions), “HSMTMTS” becomes much more complex than any of its predecessors. ... “HSMTMTS” may have the longest title of any series on television, but it earns each of its consonants.
  14. Running seven hours, “Mare of Easttown” often exchanges action for atmosphere. A few more cases could have pushed this along, but it does engage. Winslet never falters, making “Easttown” seem like the place she was born, raised and disappointed. Peters and Smart are great sparring partners but Mare is the deserving main attraction. Winslet is the reason.
  15. “TF&TWS” feels right now, even though it was originally scheduled to come before “WandaVision.” After that ground-breaking series cleansed the palate, it’s good to have something this lavish popping on home screens. Mackie and Stan deserve the attention. We saw that in earlier films when they got to banter. Now, they’re in the drivers’ seats.
  16. [Anna Shay's] a fun one to watch and, easily, a forgiving friend. The others don’t get the same pass. ... It’s one more reality show that gives rich people a chance to build brands and foster careers without having to do any heavy lifting. It’s an escape. But without Anna, it’s not an escape we’d want to take.
  17. Easily one of the best new shows in years, “WandaVision” accomplishes the impossible: it pulls us back in just when we thought we were out.
  18. Sedgwick breezes through the scenes as if she has been playing something like this for years but Lizer doesn’t give much motivation for her characters’ moves. ... Throwing in a few more Iowa references (we’ve got plenty of them) would help “Mother” distinguish itself from dozens of similar comedies. “Bless This Mess” took its “Green Acres” plot, infused it with a big helping of Nebraska and found a way to thrive. “Call Your Mother” could do the same thing.
  19. Danson does a bit of the goofiness we saw to better effect in “The Good Place” and Hunter is so stern it’s surprising someone didn’t pull her aside and point out this is a comedy. Stray bits of information (like a straw ban in Los Angeles) bring a smile; direct steals (how to spell “syzygy” was a plot point in “The 25th Annual Putnam County Spelling Bee”) suggest someone didn’t do due diligence.
  20. Considering the money that must have been spent on it, “Bridgerton” should be better. It has all the trappings of a 1980s network miniseries but none of its sizzle. More humor -- and an appearance by Andrews -- would help immensely.
  21. While “On Pointe” forgets some characters from episode to episode, it details the shared experience nicely. Ballet is not easy, we learn.
  22. It’s a 1960s medical drama in a 2020 world. ... “Nurses” isn’t the medical series you’ve been longing to see. It’s just the one that happens to be here.
  23. Intriguing and thought-provoking, “Your Honor” should get families to consider how far they’d go to protect a loved one.
  24. Pennette’s mission, though, is to keep Ashford in the fold no matter what it takes. She’s the A+ in this fairly middling comedy.
  25. Anderson, a favorite in British theater, shows American audiences yet another nuanced take that manages to nudge even Colman’s performance. ... While Corrin doesn’t make a deep impression until the third episode, she gives Diana a strength we haven’t seen before.
  26. Mara and Robinson are good leads – you can see him wilt as the years go by – but they also don’t provide enough of the why.
  27. While Adams and McDorman dominate, they’re not the only ones to watch. The other five get their moments; their families do, too.
  28. Because it antes in so many pots, this “Fargo” is like a thick novel – frequently unwieldy. Schwartzman and Buckley get lost (just when you need them the most); Timothy Olyphant and Jack Huston show up as lawmen when you’re not quite ready for them.
  29. Because it’s like some 1950s melodrama, “Ratched” is quite attractive initially. ... Instead, it's just a shirttail relative of "American Horror Story," another series that isn't always sure what it wants to do.
  30. Too traditional for its own good, it needs to mix things up on a grand scale.

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