Washington Post's Scores

For 1,656 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 8.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 Welcome to the Family: Season 1
Score distribution:
  1. Mixed: 0 out of 772
  2. Negative: 0 out of 772
772 tv reviews
  1. There’s plenty to praise here but also just enough to twitch a few fingers in preparation for a Hulk Smash.
  2. No season has fully cohered, including the third outing that debuted Friday, which feels a tad too earnest for its own good.
  3. The simplicity of the plot gives away the disastrous overconfidence in stretching the story out to 12 half-hour chapters. ... The result is a frustrating weightlessness to the ups and downs of Frances and Nick’s entanglement, which is supposed to be overwhelming and potentially life-altering because of her youth and his unique vulnerabilities. But it’s mostly just a snooze.
  4. It’s a joy to see the rest of the series catch up with [Jean Smart's] munificent excellence in its sophomore year. The writing is funnier and more poignant, the ensemble has gelled and the tonal jaggedness that plagued the previous season has been smoothed out. With Smart never better, the first six episodes (of eight total) find the show firing on all cylinders. It’s exactly what you’d hope from any sophomore season.
  5. The deeply satisfying character development of each Girls5eva member — and the greater poignancy of their sisterhood in their later years, as the concept matures from Spice Girls-esque marketing hook to genuine affection and respect for one another — eventually makes up for the uneven pacing and lack of bangers.
  6. We can only hope that the target teenage audience isn't the collection of sappy sitting ducks that Williamson thinks it is.
  7. In the end, its pleasures are rather cerebral, less a whodunit than a story about telling stories — and the omissions in hopeful service of a greater truth.
  8. A moody and well-paced but schematic seven-part miniseries. ... “Under the Banner of Heaven” is most compelling when it explores the circumstances that paved the way for the Lafferty brood’s self-conversion and smartly concludes there’s no single reason for it. ... As the Laffertys become radicalized, Pyre’s crisis of faith and challenging home life become comparatively less engaging.
  9. Stevens said that “Gaslit” means to tell the “human stories” behind Watergate. In nearly every aspect of that attempt, it fails. With Martha as the lone exception, the characters are cardboard cutouts or cartoon villains. ... Roberts simply feels miscast as Martha ... It exists to draw attention to itself but has little else to say.
  10. In a welcome contrast to the show’s first year, the whodunit and sobriety storylines are far better integrated, providing not just a moving but also bracing portrayal of alcohol dependency amid crisis. Still, it’s difficult not to notice that the overstuffed season — which adds Sharon Stone, Cheryl Hines, Margaret Cho and Mo McRae to the cast — is missing some of the series’s signature propulsiveness.
  11. Season 2 offers a more conventionally enjoyable (and more surreal) yarn, hopping decades, continents and bodies. It’s messier than its predecessor but less insular and claustrophobic, too.
  12. Perhaps it’s because Betty Ford’s story is the least known among the three that her scenes are the most compelling. ... Obvious dental prosthetics and an unfortunately mannered turn by Anderson — though less strained than her effortful pantomime of Margaret Thatcher on “The Crown” — distract from a rewriting of Eleanor Roosevelt that’s fairly bold, at least for a mainstream TV series. ... Michelle Obama’s time in the White House simply needs more time for it to be satisfyingly narrativized; she has decades yet to finish her story.
  13. Lancashire is much more naturalistic than Streep, giving us her character’s fury and self-doubt as well as her scheming and charisma.
  14. Hennessy is a cheering sight merely by virtue of her telegenic beauty, but in short order she's showing us beauty of that proverbial deeper kind.
  15. A softer and sweeter show, and though it may sometimes seem obvious and even corny, it too has an emotional pull that is lacking in much of what might be called video noir.
  16. The TV series compellingly channels this unknowability of Sunja to her grandson, too. But after Solomon washes his hands of the deal he came to Japan to finesse, the show gives him an overly familiar and rather soapy storyline that, no matter how skillful the tugs at the heartstrings, deflates the season’s back half.
  17. Despite a slow start, there’s a great deal more narrative polish and visual splendor to this season.
  18. “WeCrashed” never lets us — or failed actress Rebekah — forget she is a cousin of Gwyneth’s. But the show never leans fully into camp or cattiness, frustratingly stuck instead somewhere between dishy and humanizing.
  19. What a tacky way to begin the show. But things get better as the premiere goes on, and as the series goes on, who knows? They might even get good.
  20. Uncomplicated and ahistoric, the breezy (though not particularly funny) comedy, set in Los Angeles, isn’t concerned with its time period’s competing versions of feminism, nor what each denomination’s notions of pornography for (presumably straight) women may be.
  21. A pointless and preposterous new CBS series about a mysterious village north of Seattle where people wolf down their food and, it appears, are sometimes wolfed down themselves.
  22. The coaching catastrophes offer a compelling throughline to the otherwise limpingly paced season, cohering the massive ensemble and complementing the show’s know-it-all earnestness with its can-you-believe-this raconteurism. ... But for my tastes, McKay has entered, with “Winning Time,” an Aaron Sorkin-esque level of directorial obtrusiveness, where a filmmaker’s tics and indulgences keep calling attention to themselves, distracting from the narrative at hand rather than amplifying it.
  23. The first two episodes are fueled by sneers, bombast, hard rock and dialogue that tries a little too hard to replicate the “A million dollars isn’t cool. ... But then the supporting characters — starting with Travis’s first major investor, Bill Gurley (Kyle Chandler) — emerge, and “Super Pumped” becomes much more humane, coherent and watchable.
  24. Save for the corrosive romance at the heart of the show, “The Dropout’s” first seven episodes (the number provided to critics) don’t imagine enough, perhaps to hew to a journalistic impulse that’s noble in theory, but fails to fully satisfy in execution. In the end, its title character remains as elusive as her promises.
  25. Few new shows, at least on CBS, arrive in such polished and sparkling condition. If it gets better, it may turn out to be terrific.
  26. The still-stellar new season isn’t quite as urgent or consummate as its predecessor, but a turn toward the existential feels absolutely right as the women compare and critique each other’s half-complete journeys toward liberation.
  27. Narrated by Coodie, “Jeen-yuhs” often feels like the co-director’s attempts to make the world see West through the eyes of a longtime pal like himself, but we don’t get enough context for their relationship for that point of view to fully develop.
  28. Suck all the joy, exuberance and wondrous charisma out of “The Fresh Prince” — a worthy launchpad for an actor who, in his prime, was widely considered the biggest movie star in the world — and you’re left with the gloomy and plodding “Bel-Air.” ... A suffocating self-seriousness overhangs “Bel-Air.”
  29. A series as intellectually empty, structurally disjointed and just badly written as “Inventing Anna” can’t help feeling like a con, too.
  30. “Pam & Tommy” is certainly watchable, if questionably structured.

Top Trailers