USA Today's Scores

For 1,225 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 2.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Larry Sanders Show: Season 3
Lowest review score: 0 Heathers (2018): Season 1
Score distribution:
  1. Mixed: 0 out of 734
  2. Negative: 0 out of 734
734 tv reviews
  1. The series is no longer the definitive take on being a lesbian in America. Several series are telling these stories, far more than in 2004. This gives "Generation Q" the freedom to carve out its own niche, which seems to be joy.
  2. There are moments in Wonderland that are so gripping, so real, you could almost believe you were inside a mental hospital. The question is, do you want to be -- and on a weekly basis? [30 March 2000]
    • USA Today
  3. A razor-sharp sitcom that celebrates the human capacity to survive dysfunction. Apparently, that which doesn't destroy us makes us funnier. [20 March 2000]
    • USA Today
  4. While the young girls who follow these boy bands may be fascinated, their parents are likely to be alternately touched and horrified. These young men are so hopeful, so eager, so openly and innocently ambitious. And if you watch, you'll see how easily some of them are crushed...Tell me why that's entertaining. [24 March 2000]
    • USA Today
  5. Stewart and Cumming (who endows the Devil with an amusingly high-toned English accent) turn in vocal performances that are all the funnier for being more restrained than some of their recent work. As for Garner, well, he's somewhat of an American treasure. You might even say he's divine. [9 March 2000]
    • USA Today
  6. Near as I can tell, The Beat is what happens when TV people feel free to do whatever comes to mind, safe in the assurance that no one is going to watch. [21 March 2000]
    • USA Today
  7. Chiklis' misguided approach to comedy is to overemphasize his lines, in hopes that will make some of them seem funny. It doesn't work, but no one else is even trying. [23 March 2000]
    • USA Today
  8. If you find that humorous -- and the annoyingly cranked-up laugh track sure did -- then you're set. If not, well, the lines don't get much better. [23 March 2000]
    • USA Today
  9. Those who get excited by the mere mention of a sixth sense may get a few tingles out of The Others. But anyone hoping for something more -- something novel or clever or even spooky -- should look elsewhere. Even those of us who scare easily are likely to find this tired ghost story more silly and hokey than jolting. [4 Feb 2000]
    • USA Today
  10. Elizabeth is no longer the most interesting figure in her own story. Colman is conspicuously absent through much of the season, which focuses more heavily on Phillip, Margaret and Charles, and her role in her family members' stories is nominal at best. Despite the marquee position of Colman in the opening credits, "Crown" doesn't feel like her show. ... The series remains fully capable of making the family a little less mysterious and a little more entertaining.
  11. No dialogue from any of these women is remotely believable, nor is any emotion or action. The world of the series is heightened to the point of absurdity, like a bunch of sponsored Instagram influencer posts brought to life in all their unreality.
  12. Crafted around a protagonist designed to be obscure (he never removes his helmet, and even his voice is modulated into bland evenness), there's little in the way of an emotional connection in the first episode. ... A slight twist ending sets up a story that could involve bigger ideas from the film series. And there are a few bright moments, even behind a steel mask, where Pascal makes his equivocal bounty hunter feel more grounded.
  13. "Musical" works because it acknowledges the ridiculousness of its concept and its very existence.
  14. It was a solid, full-throated effort by the actors and chorus members, but a spectacular failure of a live TV event that couldn't get past its own awkwardness.
  15. Eventually, near the end of the fourth episode, "Materials" finds its rhythm, and here's hoping that episodes to come will live up to their potential, now that the groundwork has at last been laid. But there are more than 500 TV shows on the air right now, and this one tests the patience of even Pullman's loyal fans.
  16. The show ostensibly stars Joel Kinnaman as a Serious Astronaut Man, but the story becomes far more compelling when other characters take the lead. Episode 3 introduces a group of female astronaut trainees who make the series sing.
  17. Unfortunately, the story hasn’t caught up to the ambition of the production design in the first few episodes.
  18. The stakes are low, the writing is clichéd and the overwhelming vibe is one of disappointment and wasted potential. Rachel Green deserved better.
  19. "Dickinson" is a mess of conflicting tones that never jell into a show that does more than relish the chaos of twerking in long dresses. The acting is terrible, and not in a let's-drink-wine-and-make-fun-of-it way.
  20. In both roles, Rudd is doing some of his best work. The script and his wide-ranging performances make it never quite clear which Miles the audience is meant to be rooting for, inviting sympathy (and disdain) for both.
  21. Like the original, it has a lot to say, and is gorgeously realized with strong writing and performances, particularly from stars Regina King and Jean Smart. But its messaging is somewhat muddied.
  22. If "Abishola" can move its main couple into a romance at a slow but steady pace and still find comedy once the relationship status is a little more official, Lorre may have another long-lasting sitcom on his hands. It probably won't have the volume or flair of "Big Bang," but going small and subtle can work just as well.
  23. It is tonally dissonant in the most extreme sense, a case of two wildly incompatible concepts crushed together so inelegantly that the result is a morally reprehensible, skin-crawling drama.
  24. The sharp dialogue and great casting help "Politician," but its success rests mostly on the shoulders of Platt, who carries a big role admirably. ... "Politician" suffers whenever it wanders from Payton. ... But despite its occasional flaws, "Politician" is a relief to watch, because it manages to make fiction stranger than life once more. That is no small achievement in 2019.
  25. "Unbelievable" has such an unbelievable story at its center that the clunkiness grates less as the episodes go on. The series is a warning, a devastating example of the consequences of not believing women. But the writers successfully prevent it from becoming pedantic or hacky. This isn't an after-school special about rape. The blunt, unbecoming direction delivers the message without interference.
  26. Although so well-written you think you could get lost in it, the nagging uncanny valley in which it sits means you're always aware that you are watching something with artifice built in. But very quickly, the discomfort becomes part of the genius.
  27. 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.
  28. 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."
  29. "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.
  30. "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.

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