USA Today's Scores

For 1,198 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Episodes (US): Season 1
Lowest review score: 0 Heathers (2018): Season 1
Score distribution:
  1. Mixed: 0 out of 718
  2. Negative: 0 out of 718
718 tv reviews
  1. The acting is melodramatic without being too over the top, and Liu, especially, shines. ... The early episodes are charming and fun enough to make it worth sticking around to watch how it ends, whether it's in disaster or triumph.
  2. A hilarious and witty comedy series that has a lot of jokes other comedians may not think of. The lightning-fast sketches manage to be universal and specific, enjoyable by more than just its obvious target demographic, but also serving an audience long ignored by Hollywood or thought of as "not ready" or "not funny."
  3. "Four Weddings" was best suited to a 2-hour film in the 1990s. It's the kind of story that resists updates and reimagining, and no amount of charm from the actors or rom-com jokes from the writers can make the new version work in 2019.
  4. "Veronica" doesn't pretend it's still 2004. She's a thirty-something woman who still works her high-school job, and there's no pretending it's glamorous. And for this genre, and this character, the themes of wasted potential and existential angst fit perfectly.
  5. Except for a few cheesy moments here and there, the new episodes are exuberant and excellent, nearly surpassing the creative heights of the first season and providing a path to keeping things strange for years to come.
  6. "Voice" is an entertaining and very well-crafted piece of television that is just a little too predictable to be transcendent.
  7. In this age of TV limits, it's rare to find a program this ambitious. And even rarer to find one that achieves so many of its ambitions. [3 Apr 1998, p.11E]
    • USA Today
  8. The second season is nearly as breathtaking as the original. "Lies" remains an immensely satisfying platform for superb performances (now with 100% more Meryl Streep), one that gives women’s issues, often seen as frivolous, the weight they deserve.
  9. The new season is more propulsive and watchable, although it doesn't quite reach the heights of that first moving season. But "Handmaid's" regains its footing by setting off on a new path.
  10. The special, directed by sitcom master James Burrows, astutely pulled back from the sets as the show headed to commercial to reveal the studio audience and convey the exciting – likely nerve-racking for cast and crew – live-event nature. The performances, both in front of and behind the camera, were almost seamless.
  11. Impeccably acted and written series. ... "Dead" is a rare Netflix's series that's well-paced for a binge-watch. It unfolds slowly but assuredly. ... The series feels more alive than almost anything else on the air right now.
  12. The pacing was too fast at some points and too slow at others, but it sets up the season for success, if writers can squeeze everything into those five remaining episodes without making them seem overstuffed (no big deal).
  13. Four episodes made available for preview offer an uneven sampling--no surprise for a new series, especially an anthology with changing casts, writers and directors--with a wide gap separating the best, the tense, culturally resonant “Replay” from the worst, a free-falling “Nightmare at 30,000 Feet,” the only one adapted from an original episode.
  14. The writers of Village make the mistake of confusing emotion with quality. It's not enough just to feel; you have to do something with those feelings, too.
  15. All flash, very little substance. For some, that will work. But plenty of shows (including CBS's "Elementary") manage to do both.
  16. Overall, the series reeks of undeveloped potential. It looks beautiful and has an incredible cast, yet often drags. After a solid first episode, the plot is excruciatingly slow, pausing in all the wrong places.
  17. Its short run makes Workers not a particularly Earth-shattering series. But it's a charming, chipper story that suggests humans are inevitably good.
  18. World's isn't perfect, but it's a perfectly serviceable entry into the reality-competition landscape.
  19. The audience surrounding the stage was energetic to a fault, sometimes overpowering the singers. The too-dark set, paired with an endlessly spinning camera that nearly induced nausea, made the show excruciatingly hard to follow, even for those familiar with the material. The energy was low, and the chemistry between many of the romantically linked characters lackluster.
  20. The series' historical speculation is just dirty and plausible enough for the story. But the 1947 murder of Elizabeth Short is beside the point: What the series does best is capture the sick fascination with grisly violence, making the audience complicit in the grotesque world it portrays.
  21. It's fun to see the "Discovery" characters, who improved greatly over the course of Season 1, play in the same space as the classic guys. This is a setup the series has proven it can work with: interpersonal relationships (Spock is Burnham's brother, of course) and a multi-episode adventure. And in the season premiere, The new "Discovery" continues to shine, with a more confident atmosphere and even some humor mixed in.
  22. It's a lot of plot for 43-minute episodes, but creator Liz Heldens aptly threads the needle, balancing disparate elements into an action-adventure series with just enough mythology and mystery to keep the audience guessing. As an emotional anchor, Gosselaar's hunky, post-"Saved by the Bell" persona is perfect for a father figure/GI Joe/tortured soul like Brad. His has natural chemistry with the young Sidney, who deftly stays on the right side of the line between cute and cloying.
  23. In the first two episodes, the humor is there, the heart is there, and the plot progresses much as it would've on Fox.
  24. "Sex" is not for everyone (pun intended), but if you're game for explicit scenes and dialogue and appreciate English wit, it's a cheerfully hilarious (but safely distant) return to puberty. If any series can make adult viewers appreciate getting past that life stage, it's this one.
  25. The joy of this series lies entirely in the singers, and it really doesn't much matter who they are. ... It's a tightly paced hour in which the main joys are the good and bad voices, the costumes and the reactions of the judges and the in-studio audience.
  26. I suppose there might be a path I could have taken that would have satisfied me more. And I also suppose Netflix would love if I went back and tried to find all five endings. But every ending should be satisfying. Every story should be equally strong. That's a hard hat trick to pull off with this kind of storytelling. But they certainly get a lot of points for trying.
  27. What Maisel repeats best is its sense of joy and optimism. Its candy-colored version of 1959 may be incredibly myopic, but it celebrates the good in people, the good in comedy and show business and the good in family and marriage over wallowing in the bad. Even when it makes you cringe, you know it soon will make you smile.
  28. The weak moments in Drummer Girl come and go, but the beautiful scenery, transfixing acting and tense action remain throughout, and those are worth tuning in for. You may be confused at times watching Charlie, but you'll never take your eyes off her.
  29. The series portrays the lives of two poor young girls, that so many of their contemporaries might deem insignificant, as important and enthralling as anything else onscreen.
  30. A transformative work that so vividly brings the drama to life it might as well be brand-new to its audience. ... [Ben Stiller's] gorgeous and haunting work, combined with a career-best performance from Arquette, helps Dannemora transcend into one of the best TV experiences of the year.

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