Sioux City Journal's Scores

  • TV
For 235 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 4.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 71
Highest review score: 100 Fleabag: Season 2
Lowest review score: 25 Almost Family: Season 1
Score distribution:
  1. Mixed: 0 out of 163
  2. Negative: 0 out of 163
163 tv reviews
  1. 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.
  2. Too traditional for its own good, it needs to mix things up on a grand scale.
  3. “Coastal Elites” is a powerful 90 minutes with five actors who know how to make each moment count. You may not agree with the political points some espouse, but you will respect the heart that’s behind them.
  4. While the first season surprised with behind-the-scenes talk (and action) among the superheroes, it didn’t have the depth this one does.
  5. “Million Dollar Beach House,” an airy addition to the summer schedule, doesn’t really have the drama of “Million Dollar Listings” or “Selling Sunset,” but there is enough here to savor. ... Had the producers shown us more of the Hamptons in the process, “MDBH” might have set itself apart from other, similar shows.
  6. “Lovecraft Country,” which tips its hat to the novels of H.P. Lovecraft, has the gloss of a Steven Spielberg summer blockbuster. It also has Spielberg’s way of tucking messages in places you wouldn’t expect.
  7. Like a YouTube channel, “Muppets Now” needs to figure out what it does best and proceed. This isn’t “America’s Funniest Muppet Videos.” It’s “The Miss Piggy Show” with a few distracting bits thrown in for surprise.
  8. “Brave New World” looks like something NBC might have programmed in the 1980s. The sex and swearing are a stretch, of course, but there’s a lot of “Stepford Wives” to this that doesn’t really work.
  9. Winters hits the bases but doesn’t necessarily come all the way home. In “Showbiz Kids” there are enough storylines to fill a stadium.
  10. This is a dandy companion piece – for hardcore fans. The idea that Disney would do similar documentaries on other animated features is overkill. Sometimes there’s more magic in not knowing how the sausage is made.
  11. Spread over eight episodes, this “Perry Mason” deserves the time you give it. It lets supporting characters have their moments and it gives Rhys yet another opportunity to display just how fertile his imagination is. If there’s a second season – and that’s quite likely – it’d be nice to see cases closed after two or three episodes.
  12. It’s likely this could have a good long run, particularly since Scott is so smart and approachable and Reynolds is so deliciously low. ... It’s easily one of those shows that could go the distance. It’s far better than some of the network’s retreads and it’s much more interesting with the producer’s well-written asides. This “Don’t” is a big do.
  13. While none of the jokes land with the same precision as "Veep's", they do play in the same pool. If Kudrow had been given more screen time, she just might have made this zing as well as "The Comeback."
  14. A simple check of Google could tell you how this all turns out but it’s fascinating to see how McNamara bends the narrative to fit the message.
  15. The two [Applegate and Cardellini] are great together even when “Dead to Me” doesn’t give them the scenes they deserve. Because they’re so linked, the second season episodes should be binged. Alone, they lack context; together, they’re like a tray of appetizers – easy to slide down.
  16. It’s sexy, sizzling and silly, all at one time.
  17. In light of “The Good Place,” “Upload” seems light on humor and connections we can embrace. Amell and Allo are good partners. They’re just caught in a situation that’s too raw for viewers who now are in the middle of a pandemic.
  18. “Defending Jacob” is fairly straightforward. It has a murder. It has a suspect. It has a trial. And then it starts sprinkling in reasonable doubt. If there’s a greater lesson to be learned, we missed it. ... Thanks to a great score and lingering cinematography, “Defending Jacob” is good. It just seems supersized to justify a film star showing up on television.
  19. While Blanchett waltzes through the miniseries like Eleanor Parker, she doesn’t quite get the hardscrabble woman who tilted at the ERA windmill. She’s too patrician for those of us who remember her. ... Martindale and Ullman have done their homework, but it’s Elizabeth Banks as Jill Ruckelshaus and Byrne who impress. They capture the movement’s urgency and help us understand their place in it. ... “Mrs. America” might have benefitted from an additional episode to explain how many of [Schlafly's] disciples went on to win seats in the House and the Senate.
  20. Running just seven episodes, “Run” makes a strong case for short-term series. Stopping when it should, not when producers think it can’t be squeezed anymore, the half-hour series rarely lags, even when some twists seem forced. Waller-Bridge created the template for something like this. Now, Jones borrows the playbook and two extremely talented actors make it worth the risk.
  21. The deck is stacked against the fledgling money launderers. How they maneuver around their detractors is still “Ozark’s” biggest strength. Couple that with the one-two punch of Linney and Pelphrey, and this is a compelling season worth binging.
  22. The Netflix documentary is so horrifically addicting you’ll be like a cat at feeding time. Never mind some of the seven-part series’ editing or focus. The production pulls you in because the characters are so unabashedly brazen. They don’t just talk about their hatred. They openly demonstrate it, helping you understand a layer of society you never knew existed.
  23. While this “One Day at a Time” isn’t as revolutionary as Lear’s early offerings (“All in the Family” is still the gold standard), it does move the needle on a number of issues. It also shows fans know better than executives.
  24. Witherspoon, who practically owns the franchise on uptight white women, gives this one an even bigger nudge. At times, “Little Fires” looks like a Marc Cherry potboiler. Washington, meanwhile, reacts like she’s in something more significant. That pull adds to the story’s allure and pushes our sympathies to others. ... “Little Fires Everywhere” doesn’t have the heft of “Pretty Little Lies,” but it should spark discussions about privilege, race and expectations.
  25. The laughs aren’t as rapid-fire as they were in “Veep,” but they are plentiful. Gad perfects that smarmy billionaire; Suzy Nakamura is ideal as his common law assistant. ... Laurie is ideal at the helm – even when the story seems like it’s rudderless. He plays captain in a way you wouldn’t think and handles disaster like Jean-Luc Picard never would. Make it so? “Avenue 5” does.
  26. There’s a germ of something here. It’s never quite clear what it could be.
  27. “Cheer” isn’t so much a new take on an old story as it is proof there’s drama wherever two or more gather. It’s an addicting reality show that will make you think twice the next time you see someone accomplish something amazing.
  28. In the third season, she [creator Amy Sherman-Palladino] dreams even bigger and gives us a USO tour, Las Vegas and Miami Beach. ... Swirl it all together with some of the best production design found in a sitcom and this season of “Mrs. Maisel” is pretty, well, marvelous. ... Brosnahan and company continue to impress and Zegen, the beleaguered man in the back, finally gets the attention he deserves.
  29. While the parallels between this high school musical and the other one aren’t hard to spot, it does have a more adult vibe and a snarkiness factor that should pull in a non-Disney crowd.
  30. It’s an interesting premise that shows just how intense high school can be. ... While the series doesn’t give full back stories, it does let you know what happened to the students and how theater affected their lives.

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