Washington Post's Scores

For 1,436 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 8.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Cold Case: Season 1
Lowest review score: 0 Hart of Dixie: Season 1
Score distribution:
  1. Mixed: 0 out of 653
  2. Negative: 0 out of 653
653 tv reviews
  1. Beautifully shot, artfully composed, nevertheless unsettling and needlessly cruel. To really get the show, one must shed any notion that a teenager can be happy or satisfied — even in moments of chemical or sexual ecstasy. The show defies any notion that stories are something that build toward a moral or a theme or even a central idea. ... The narrative never coheres because it’s not really supposed to. Alluring yes, but far from great television.
  2. Engrossing but flawed. ...“The Loudest Voice” feels as though it has come way too late or much too soon. As a piece of current contextual storytelling, it struggles to provide the thematic platform that would make it more than a stylized Wikipedia entry. As a hit job, it comes on too strong, given that its subject is dead and gone.
  3. “Pose” returns Tuesday night with a resolute confidence in both its big glimmer and its basic grit. It hasn’t gone out and gotten a major makeover for Season 2, but it has applied some necessary tweaks.
  4. Although “Big Little Lies” doesn’t seem entirely sure of where it’s headed, it can still work itself up into a delectably roiling state of privilege and anger.
  5. [The third season] sustains many of the qualities that first made the show such a talker (and award winner), with memorable performances and a fascinating vision of government oppression and cruelty in the name of God. ...The bad news is that the first half of this season (six episodes were made available for this review) often lapses into the realm of the deadly dull, making long and redundant loops around its original premise and revisiting already established resentments and animosities between characters.
  6. Split into four episodes, DuVernay’s approach bluntly but successfully turns this story inside-out, borrowing the look of true-crime dramas while discarding the genre’s usual tropes. It focuses primarily on the boys, their families and the irreparable effects of their jailing. Rather than lionize them, it goes one better and humanizes them.
  7. “Running With Beto” rarely rises above a desire to be a fly on the wall, on the off chance that it will witness history. For campaign junkies, the film is stuffed with the real-life grind of ground-level work. ... “Running With Beto” is most compelling when O’Rourke isn’t in it. In moving portraits of some of his die-hard supporters, the film finally becomes the soaring ode to grass-roots politics that it desires to be.
  8. The series gives thoughtful treatment to its depiction of safety precautions and scientific concern, yet the dialogue and drama fall disappointingly flat. The real problem exists in some murky, made-for-TV zone between nonfiction and fiction. By sticking to “The Hot Zone’s” essential tale, this version remains a story of close calls and near misses.
  9. Fun but only partly successful exercise in nostalgia and cultural context. ... [Woody Harrelson] got the Bunker voice and mannerisms down okay, but lacked O’Connor’s subtler, seething presence. Tomei made a passable Edith, all sweetness and screech, more costume party than performance. ... The second-half “Jeffersons” staging seemed smoother and more enjoyable, thanks in no small part to Jennifer Hudson’s showstopping rendition of the theme song.
  10. Hulu’s version — written and created by Luke Davies and David Michôd and shepherded by executive producer George Clooney and others — strips “Catch-22” down to its essential brilliance and then builds it back up into a sweeping, beautifully filmed, humorous yet tragic tale of a young man forever changed by war.
  11. HBO’s fascinating and necessarily bleak miniseries “Chernobyl” is every bit as grim as it looks — maybe even grimmer than that.
  12. The first episode comes on a little strong, as the viewer tries to follow the jokes and appreciate the frenetically wild visuals whizzing past (a high-rise building with naked, jiggling breasts?). Further episodes settle down and focus on some themes. ... Nothing gets too heavy, however, as “Tuca & Bertie” remains solidly and successfully committed to its larky nature.
  13. Like many good dramas, everything is constructed around an initial act of deception; once you know about it, you’ll spend the rest of this easily addictive series fretting about when and how the truth will finally come out.
  14. At times, “The Red Line” exhibits some of the care and thoughtful structure that viewers so loved in John Ridley’s riveting and topical ABC series “American Crime” or in Veena Sud’s single season of Netflix’s superb “Seven Seconds.” At other times it lapses into some network habits, sacrificing its rawness for a more polished, procedural approach. ... There are, however, some knockout performances that make the series worth seeing through to the end--especially from Wyle.
  15. It’s one of the most engaging dramas to come along so far this year.
  16. As with any show that is absorbingly personal and refreshingly new, you can’t help but want to see more, know more.
    • 92 Metascore
    • 100 Critic Score
    If you have a Netflix password and two more hours to spare, you’re in for one of the greatest concert films ever made.
  17. With little to no attempt at overture or background, viewers must sort themselves between those who’ve done the homework and those who haven’t. ... Thankfully, Fosse/Verdon can be savored entirely through Rockwell and Williams’s compelling pair of performances, which, as you would expect from two of the best actors working today, are achingly layered.
  18. How is Season 2? Is it just as good? Why, yes, it is. ... Fennell and company deftly resume the action. ... As it stands, the women are two of the most intriguing TV characters in recent memory, taking us to a place that can feel altogether new.
  19. Without spoiling the central themes or outcomes of any episode, it seems the new “Twilight Zone” is perhaps too fixated on personal damnation and curses rather than straight-on, clutch-the-couch-pillow surprises.
  20. Veep is and always was a cruelly satisfying, fully original journey into Washington’s darkest behaviors. Banish any thought that its brilliant star, Julia Louis-Dreyfus, would return to the series after a personal cancer scare inclined to soften Selina Meyer for even a subliminally sentimental exit. Instead, and with great satisfaction, it appears Veep will go out at its nastiest and bitterest best.
  21. The darkness gets darker, yet “Barry” is sticking to its comedic intent and half-hour format. This is remarkable, given that it plays as intensely and satisfyingly as “Breaking Bad” once did.
  22. There are lots of laughs at the start, but, four episodes in, the show loses some of its liveliness (for lack of a better word), risking the comedy equivalent of rigor mortis. The performances and guest cameos are just enough to pass the test.
  23. Exceptional British dramedy. ... Delaney and Horgan give their deepest and most moving performances yet in the series finale.
  24. It’s neither better nor worse than much of its ilk and it’s rescued from oblivion by Bryant’s talent for toggling between the show’s sparkly sense of pride and its wounded moments of outrage.
  25. Clunky. ... Though it can be binge-watched painlessly enough (especially by those looking for Elba eye-candy), Turn Up Charlie is such a disassembled example of a “Welcome to my world” TV show that it ought to come with its own Allen wrench.
  26. Araki’s libertines are fun to follow as they romp and revolve, but what happens to them seems a little too shallow, too prolonged and too low-stakes.
  27. The details are still appalling, but what we see and hear in Dan Reed’s riveting and sharply convincing four-hour documentary, “Leaving Neverland” (airing in two parts Sunday and Monday on HBO), supplies the viewer with an unexpected measure of calm. Even the outrage feels at last like the real deal, instead of the manufactured byproduct of tabloids and TMZ.
  28. A naturally fascinating but slightly overindulged and unevenly paced documentary series
  29. The big innovation in PEN15 is that Anna and Maya’s peers are all played by actual kids, and it’s remarkable to see how Erskine and Konkle blend so easily among them, without the show becoming a prolonged stunt. ... PEN15 is not a sendup so much as a deeply felt and utterly convincing homage to the girls they used to be.

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