Washington Post's Scores

For 1,579 reviews, this publication has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 8.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Curb Your Enthusiasm: Season 3
Lowest review score: 0 Insatiable: Season 1
Score distribution:
  1. Mixed: 0 out of 733
  2. Negative: 0 out of 733
733 tv reviews
  1. “Physical” flirts with messiness at times (and has to occasionally rely on coincidences to make things fit together), but it’s built on an intriguing and idiosyncratic overlap of fiefdoms and credos. The show’s smartest decision, other than Byrne’s casting, may be its tendency to evoke rather than spoon-feed.
  2. “Lady Parts” becomes the unassuming powerhouse that it is when it dives deeper into Saira’s backstory and the group’s minor members court some Internet fame, to predictably disastrous results.
  3. “Lady Parts” becomes the unassuming powerhouse that it is when it dives deeper into Saira’s backstory and the group’s minor members court some Internet fame, to predictably disastrous results.
  4. The series is the rare well-rounded portrait of contemporary Oakland. Even more rewarding are the layers of history between the characters that the season gradually uncovers, especially between Ashley and Rainey, whose lives have intersected for more than a decade.
  5. While musical numbers and scripted sketches in the first few episodes fall flat, segments featuring ordinary people — including one where Ziwe interviews several White women named Karen, and another where she demands to know whether her nose bothers a plastic surgeon who suggests she make it more “refined” — show potential.
  6. The filmmaker brings Whitehead’s alternate history — anchored by a literal underground railroad that clandestinely transports runaway slaves — to vivid and visually stunning life.
  7. The writing seems more writerly, perhaps a smidge more sophisticated, and here or there one hears a catchy turn of phrase. But basically it's the same old slogging, soggy spookery, derivative and uninspired, protracted beyond all sense of decency.
  8. It's torture. It's hell. And millions will tune in, attracted by King's reputation as America's scaremaster...The best thing would be for everybody to avoid it like the plague, because it is the plague.
  9. A luminous chunk of sparkling dark crystal, a devilishly haunting gem polished to near-perfection by director Brian Henson and adapting writer Richard Christian Matheson.
    • 63 Metascore
    • 70 Critic Score
    There's a lot to like about the show, even for those who've somehow missed reading his books or attending his movies...It helps, though, that "Years" is good story-telling, unlike "Twin Peaks," which corkscrewed itself into a Nielsen grave with a plethora of space cadets from the Northwest but no fixed address for plot.
  10. Stephen King gets away with murder. He's not the master storyteller; he's the master story reteller. And recycler. Stephen King's The Tommyknockers, a howlingly awful ABC miniseries, seems to have been stitched together from many a tattered bit and piece.
  11. The Langoliers casts a fitfully eerie spell. At four hours, it's about two hours too long, but there are some punchy payoffs along the way that keep one intrigued, if not exactly scared to the point of hysteria.
  12. This is the way the world ends. This is the way the world ends. Not with a bang but with a lot of bad acting. Oh, and plenty of bad writing, too. That horrible Stephen King is back with another dreadful ABC miniseries: The Stand.
  13. At least "Twin Peaks" was fascinating when it first began. Kingdom Hospital is not. It's just more simplistic horror hash from a tired and shameless old slinger. If only he would pick up the pace, and things would actually happen.
  14. Enjoyably rambunctious (if a tad overblown) period drama. ... Whenever the series starts to drag (and it does do that, with episodes that are often too long and subplots that dawdle around), the show cranks up some other aspect to keep viewers interested — the vivid costumes, the palatial surroundings, the name-that-tune recognition game when a chamber orchestra segues into classically arranged takes on modern hits (Billie Eilish, Ariana Grande).
  15. This adaptation, which starts off succinctly, starts to strain as soon as it has to shoulder the biblical proportions. “The Stand” works better as a study in survivalist pluck than as a theological thunderdome.
  16. Quietly compelling.
  17. [The cast] all struggle with a premise and a script that gives them little guidance on how far to go with “Your Honor’s” resolute dourness.
  18. Reconciling these two stories is a real trick; the four episodes made available for this review (out of eight) certainly achieve the story’s nonstop anxiety level, but one gets the feeling that the whole thing would come apart without Cuoco’s impressive grip on the character: a woman who is out of control, expertly played by an actress who demonstrates such precision.
  19. Too long to be a movie and too short to satisfy as a miniseries, this “Black Narcissus” dabbles in being all of the above, and, alas, doesn’t fully succeed at any of them. But it doesn't deserve a thumbs-down review, either. Thanks to some excellent and at times gripping performances — especially from its lead, Gemma Arterton — “Black Narcissus” remains intriguing while never quite getting to the point of riveting.
  20. All of it combines to bring Coates’s words up off the page with startlingly precise intent. Old news footage transitions to recent outrages; dreams are shattered and reassembled to reflect unflinching truths. There’s as much to look at as there is to hear; the words and images meld almost seamlessly.
  21. Superb and sprawling. ... Where most shows would try to cram everything in, “The Crown” is all about smart choices. We don’t get the full blow-by-blow of Diana’s strange engagement to a difficult and even cruelly neglectful Charles, played terrifically by Josh O’Connor. ... These Charles/Di go-rounds may indeed butter “The Crown’s” bread, but the real news this time is Gillian Anderson’s devastatingly precise portrayal of Margaret Thatcher.
  22. An engaging but thematically thin drama. .. The show’s entanglements and provocations are what manage to pull a viewer in.
  23. With a cheerful dose of dutifulness, the show all but insists that life must go on for all of us. Even the mundane must endure. ... Positive or negative, we’ll just leave it be.
  24. Laurie (“House, M.D.”; “Veep”) is just about the only reason to get into “Roadkill,” writer David Hare’s quick-moving but often ridiculously convoluted drama.
  25. On the surface it may look similar to “Big Little Lies,” but in the ways that count, it is darker, slower and not as captivating. ... By the fifth episode (HBO provided all but the sixth and final episode for this review), the story feels fully spent and too thinly stretched. Beauty and mood can take things only so far.
  26. So many words, words upon words, the effluence of the dialogue being the show’s draw, as well as one of its drawbacks. What sounded so glidingly lyrical back then verges on the ridiculous and grating now, unless, of course, you have too much invested in “The West Wing’s” idealized Washington. ... The best parts are the interstitial breaks, taking up an additional 20 minutes, which feature Sorkinesque banter between cast members in the form of get-out-the-vote messages.
  27. The actors do their best to overcome the flat writing, and the show does find its stride by the fifth episode (which is all that Disney Plus made available for this review). What the new “Right Stuff” is missing are the qualities it can probably never have: currency and context.
  28. There are strong performances from an array of prestige TV’s familiar faces — Malin Akerman and David Costabile of “Billions,” Charlie Heaton of “Stranger Things” and Betsy Brandt of “Breaking Bad,” among them — but the show lapses into the predictable pace of similar anthology series, where the ideas are many but the results are not always captivating. Still, “Soulmates” is a nifty enough show for AMC to serve from its pandemic cupboard.
  29. Filmmaker Rick Rowley lays out the chronology carefully — if not always in tidy chapters, considering its many twists and turns.

Top Trailers