The Wrap's Scores

  • TV
For 256 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 66
Highest review score: 100 All The Way (2016)
Lowest review score: 10 Bad Judge: Season 1
Score distribution:
  1. Mixed: 0 out of 159
  2. Negative: 0 out of 159
159 tv reviews
  1. There are some nice emotional touches here. Early on, we see both men grappling with mortality in believable ways: Murtaugh paying close attention to the heart monitor on his smartwatch, or Riggs hunkered down in self-medicated mourning. But they’re only touches, brief moments of departure from the original formula.
  2. While [John Malkovich] does indeed dig into the pirate role with relish, it's not enough to save the show.
  3. The Messengers is an appealing and entertaining cross between “Heroes” and “Supernatural” and has the potential to be just the hit The CW needs and viewers deserve.
  4. Stewart and Scarborough make Blunt Talk worth watching, as they’re an offbeat co-dependent pair who clearly have great affection and respect for each other, and watching Stewart embrace Walter’s often loony behavior is a treat.
  5. Meanwhile, there’s Bosworth, throwing glacial glares and selling her soul to impress her father and compete with upstart Connor, giving a beautifully restrained, imminently watchable performance that conveys depths with very little. Too bad there’s not more of her and less of everything else.
  6. This resulting premiere is an offering that feels haphazardly stitched together--the audience often left pondering the relevance of each scene. By Episode 3 that pace and journey shift to relevant and thoughtful, but it sure is an exhaustive journey to finally get there.
    • 55 Metascore
    • 50 Critic Score
    While the pilot script excels in efficient plot building, it lags in dialogue and character development.
  7. [There's] a lot of dying and when that's added to the death or deaths of the week--this is a one-note procedural after all--the morbidity starts to mount on a series that's already weighed down by clumsy mythology and storytelling.
  8. Into the Badlands may not have a ton of smarts, but so far it’s a twisty, agreeable distraction.
  9. It's just a good story, cleverly told. It's not going to resolve the troubles in the Middle East, but then again, neither has anything else.
  10. Houston’s life comes across as if outlined in simple, declarative statements with limited depth of emotion and introspection.
  11. This is an offering best served in small doses to really appreciate some of the nuances built into each episode.
  12. Following the firmly established formula, director Anthony C. Ferrante delivers predictably amped-up action and less camp on this third swipe at the chum bucket. But that doesn’t stop it from being a fun, if less hilarious, ride.
  13. Harden’s unfortunate typecasting is the least of the ailments afflicting Code Black. When blood isn’t flying everywhere and the doctors aren’t rushing from one disaster to the next, derivative characters bombard the screen with familiar tropes.
  14. CBS's new comedy The McCarthys is well written and terrifically cast. Star Tyler Ritter is effortless in his delivery and grounds the comedy that can take family bonding to extremes.
  15. There's a fun dynamic between John and Chas that is yet to be explored, while we haven't even met the third member of our trio yet.
  16. By the sixth or seventh time someone ominously intones, “It’s coming,” you’ll be just about exhausted. Some things shouldn’t necessarily be reborn.
  17. Sumptuous costuming and a believable period setting aren’t enough to make up for weak storylines that intend to make more of killer Lizzie than she actually was.
  18. Unfortunately the end result is a cast of supporting characters that fall flat without the proper development, and a lead that never quite opens up to the audience.
  19. Fantasy fare like this generally has a pretty low bar to clear and a pretty forgiving target audience, but the heavy-handed jargon, pointy elf ears and brooding self-seriousness of The Shannara Chronicles might be too much for even those fans. It doesn’t help that the characters seem to be allowed to switch from talking dour fantasy-novel heroes to bored millennials whenever the mood strikes them.
  20. The dialogue is smart, biting and sporadically funny as it convincingly argues that its strange fiction is truth and turns the wartime stuff of our nightmares into the blackest of comedy.
  21. None of these [Dick Wolf Chicago] shows are groundbreaking. All have dialogue is lumpy. But for viewers who crave the familiar, there is something comforting about attractive people saving the day.
  22. What’s initially arresting about the concept remains unfulfilled after the pilot, and while it’s understandable that the producers needed to first establish its central characters, Dash and Vega aren’t particularly well-drawn thus far, creating a concern that this show will be more interesting theoretically than it is dramatically.
  23. Simmons pushed back on Barkley’s rankings, as only a true fan can. It’s this informed jousting, the back and forth between devotees of sports that could make Any Given Wednesday appointment viewing for sports fans. ... It’s classic Bill Simmons, a man with questions and answers, with a new forum where he can drop the mic and let others do the same.
  24. Its kindly spirit and those performances [from Graynor, Hansen and Grier] help prevent Bad Teacher from falling into the increasingly raunchy trap of its network predecessor, “Two and a Half Men.”
  25. Instead of being nags or props, the female costars on this series are just as fleshed out and funny as their male counterparts, and the comedy is all the better for it.
  26. It is a refreshing amalgamation of the two genres that creates a fascinating exploration into the world of four-color comics by imagining what it might really be like to live among costumed superheroes and villains.
  27. While there may be some hidden truths in the intended comedy, the scenes often come across as judgemental and ill-conceived.
  28. There’s plenty of action, but it comes across as muddled and at least so far is failing to serve the intrigue.
    • 49 Metascore
    • 80 Critic Score
    Happish is impressive as it convincingly drives themes of selling, selling out, anger, whoredom, mortality and the true meaning of happiness--and whether it’s even attainable--drawing upon established talents such as Ellen Barkin, Carrie Preston, Molly Price and Andre Royo. They provide Coogan, Hahn and Whitford with great foils and sounding boards for both the mundane and serious matters addressed.

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