New York Daily News' Scores

For 1,461 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 John Adams: Season 1
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 609
  2. Negative: 0 out of 609
609 tv reviews
  1. Heche is very likable here. She plays some of the same notes she played when stranded with Harrison Ford in "Six Days Seven Nights," or playing Amanda in last year's "Everwood" guest arc, but also crafts a credible character, and slips into her central role comfortably.
  2. Certain plot lines and production values are irritating (especially the never-ceasing music, scored relentlessly, as if "Related" were a silent movie), but there are a few redeeming bonuses here. The supporting and guest cast is loaded with very effective performers.
  3. The chemistry among cast members holds enormous promise for comedy that's sometimes silly and sometimes sophisticated. [4 Mar 1997]
    • New York Daily News
  4. Tonight's premiere looks a little bleak and proceeds a little predictably but this may well be due to the amount of exposition necessary to establish the world Carter and company will be exploring. [8 Oct 1999, p.144]
    • New York Daily News
  5. What the show lacks most is the humor that lightened the original.
  6. Yes, it's "Fugitive ... With Children." But "Runaway"... actually is pretty good, mostly because this family doesn't always get along.
  7. This Ironside starts out as a good cop show that Underwood could turn into a very good one.
  8. Dunham shows us why Hilary Knight doesn’t feel quite content, despite what he has done. Drawing Eloise clearly didn’t mean embracing her view of the world.
  9. The opening episode of his new A&E reality show almost physically painful to watch. The good news is that if the viewer sticks it out, as Danza did, things will get better as the weeks roll along. They never get perfect. But he will eventually find his footing and win some props.
  10. The Slap just misses being as sharp in the execution as it is in the concept.
  11. At some point, the gang on It's Always Sunny in Philadelphia will no longer be able to top itself, no longer do or say things that are even more wrong than the last thing they said or did. It hasn't happened yet.
  12. Lost returns Wednesday exactly the way fans like it: utterly, totally, completely incomprehensible to anyone who doesn't know the secret handshake. If you're a fan, however, or if you're willing to really study the one-hour crash catchup course that ABC is airing before the first two new episodes tonight, you'll be rewarded with richly intertwined and well-acted drama.
  13. The Royals doesn’t pretend to be much more than good fun, and it delivers that.
  14. Mr. Selfridge unfurls a number of subplots, tied to business, politics, class gaps, romance and so on. Some are more engaging than others.
  15. It just feels redundant. Perhaps little or nothing on the home movies lent itself to a richer portrait. Nixon was so guarded, that’s entirely possible.
  16. Maybe this will all work out. We’d like it to. Right now, the show could use a little couples therapy.
  17. It’s the kind of deft touch that makes Rectify, a series with a very measured pace, stay lively enough so we’re willing to wait for something to happen.
  18. Sister Wives isn't likely to spark mass polygamy in America, but it's the rare reality show that reveals things viewers didn't expect. It even has jokes.
  19. Like all mothers on TV dramas, Angela starts out annoying. That means we can probably count on her to say something wise at just the moment we least expect it. In the end, though, this is Thorne's show, and she carries the lead well. Now the writers and Dr. Donna have to find enough interesting places she can go.
  20. Watching them through this process turns out to be surprisingly interesting.
  21. American Hoggers turns out to be a remarkably straightforward show, almost closer to a documentary.
  22. The result will be more fascinating to those already invested in this sort of conservation issue than to the casual viewer, who may find the journey tough going and the nuances of the whole whaling question a little dense.
  23. It's still a reasonably funny show, thanks to first-rate performances from Mary-Louise Parker as Nancy Botwin, a woman who deals drugs, and Elizabeth Perkins as Celia Hodes, a woman who uses them. [But] It's getting harder to maintain a sharp seriocomic edge when Botwin keeps slipping further into a world where there just aren't a lot of inherent laughs.
  24. At the end of the day, though, what we've got is essentially more CSI--with a first-rate lead.
  25. The Gatekeepers reveals a few anecdotal secrets here and there, most of them charming and none that will damage any ex-bosses’ reputations.
  26. This group doesn't need a villain or a backstabber, at least in the early stage. The job is enough of an equalizer.
  27. CBS' newest cop show has ambition and potential. It just needs a few sparks to ignite.
  28. it's business as usual for a cool, fast-paced and thoroughly pleasant hour of summer television.
  29. There's soap here, and the liberated-woman part sometimes feels like a reach. But the show is fun, it makes flying look like fun, and yes, that line of stewardesses does look good enough to stop an airport.
  30. Parker's celebrity may help sell a TV show, but it's much more interesting to find a Civil War soldier in your own family tree than a long-ago public figure in hers....Genealogy is way better when it's participatory, not a spectator sport.
  31. The problem is people; the characters are interesting, but that's pretty much as far as it goes. Whether they live, die, are brutalized, treated fairly or unfairly it all comes at you in such a rush that you don't know what to make of it, if anything...That's a serious flaw, although there are signs in the first two episodes that the problem could be remedied as the series proceeds. If it is and I'm intrigued enough to keep watching my like could conceivably turn to love. [10 July 1997, p.106]
    • New York Daily News
  32. Without a grounding in vampire lore, many viewers won't get a lot of the nuances, including the humor, in True Blood. So as good as Paquin and company play it, this is another quality pay-cable show that does have a secret handshake.
  33. There's an extent to which watching ad development becomes like watching someone write a song or a book. Unless you're in the game yourself, the result is the only part you really care about.
  34. With a relatively modest first order and a late May launch, The Night Shift may be seen by NBC as, realistically, a summer series. By that standard, it does its job and more.
  35. After a rather long walk down some shadowy alleys, Public Morals becomes a much more intense and traditional crime drama.
  36. OK, if you don’t find awkward funny, you won’t get Veep. But terrific as Louis-Dreyfus is at playing a woman seemingly incapable of embarrassment, her large supporting cast also helps establish the show’s bizarre rhythm.
  37. As drama, that new direction is interesting and may be darkly honest. It’s just unsettling, which will take some adjustment for viewers of a network that has rarely gone there.
  38. Shahs of Sunset doesn't have any great message except maybe that the world of money knows no geographic boundaries.
  39. This Coma is different enough from the 1978 movie to have its own appeal, and the cast keeps things interesting even during plot lulls.
  40. It's the detection, as well as the detective, that draws you and holds you here. Neither the cases nor the characters are simple - and in both cases, that's a compliment. [16 Nov 2004, p.107]
    • New York Daily News
  41. It's a show that wants to say something. Now it needs viewers who want to listen.
  42. It’s a good primer, because PBS does structured history well. It just feels more academic than slam-bang.
  43. Kirstie breaks no new ground, and it doesn’t try to. It walks a path we have enjoyed before.
  44. The new elements and mostly the performances make it worth staying around to see what other secrets lurk within.
  45. Viewers who like the horror genre and the offbeat Murphy/Falchuk approach, and who are willing to put in enough serious time to absorb all the nuances, will fall in love.
  46. The humor and language are rough and there's a constant sense of wariness about everything from IEDs to the loyalty of some locals.
  47. It takes a story whose outline we know and uses backstage access to turn it into a well-paced drama.
  48. Wizard Wars never comes across as a straight magic show, but more about how to assemble the pieces that add up to a magic show.
  49. While the Bible might seem like tricky turf for a TV show, the execution makes it comfortable for all but the most rigid Puritan.
  50. Easy Money has some promise. But it won't be an easy sell.
  51. Odd as it sounds, How Sherlock Changed the World argues persuasively that it was a crime writer, Sir Arthur Conan Doyle, who virtually invented the modern science of forensics by having his fictional detective employ it.
  52. It does, however, wisely retain some of the elements that worked in the original, like characters who are interesting without being deep. We watch them because of what they do, not because we think there's a lot there.
  53. It's a little bit scary and a little bit amusing.
  54. Top Chef is a show where you wouldn't mind having almost any of these people fix your dinner. That may sound like a formula for disaster among these types of shows, but in reality, it works out well.
  55. By those criteria [action drama, airs of vague mystery and psychological setups that upset the characters’ equilibrium], Under the Dome hits its marks. It’s not profound and it may take a while to reach terrifying, but as a campfire story, a fresh batch of characters in a time-tested tale, sure, why not?
  56. Rosie O’Donnell’s new standup special reminds us that sparing no target in comedy doesn’t necessarily mean revealing all.
  57. There's a funny and disturbingly insightful tale in Showtime’s latest unorthodox comedy. Regrettably, it often disappears under a lava flow of vulgarity.
  58. Hype! is the high-energy creation of writers Scott King, Lanier Laney and Terry Sweeney. The 10-person cast - standup comics and improv players - seems as fearless as it is talented and includes some brilliant mimics. [6 Oct 2000, p.150]
    • New York Daily News
  59. The Spoils Before Dying requires some time and in return offers some rewards.
  60. Even by the notoriously uneven standards of sitcoms, The Mindy Project takes precipitous swings from fresh and clever insights to the most predictable "Oh, girl, don't go there" setups.
  61. Underneath it, we also see kids. Yes, rich kids, but also insecure kids coping with the universal dramas of teenagers. That may be the most engaging part of NYC Prep.
  62. Happily, there are reasons to watch Alcatraz, starting with an appealing cast and a premise that really does not require a college degree in the mythology of other worlds.
  63. With cheating rock-star husbands, secrets and reporters everywhere, there’s no way we won’t see some soap splashing on this clean-cut, All-American story.
  64. Bochco delivers instead a solid lawyer show that fits comfortably into the mold formed by dozens of lawyer shows before it.
  65. After you watch Wednesday night's premiere of ABC's doctor drama Off the Map, you might think the title means the show hasn't quite found its path yet. You'd be right. But it's got a shot to get there, with an engaging ensemble cast and a novel premise that could prove useful.
  66. In contrast to Scorsese's other work, like his Bob Dylan documentary and "The Last Waltz," George Harrison feels like it doesn't get far below the surface.
  67. While viewers may be curious to know whether they do, the journey itself may not be as interesting to us as it is to #1096’s progeny.
  68. It’s a show rife with bad decisions, though only people who can take several steps back are likely to find the humor. The characters themselves rarely run into much occasion for merriment.
  69. Gossip Girl will get some slack on repeating itself, because teenagers have an incredibly high tolerance for remixing, reworking and rehashing the drama in their own lives. But the show still has to feel fresh, which is why Monday's episode adds at least two new characters who promise to have significant impact on people we already know.
  70. The pieces are in place for a solid drama-with-humor, the kind that cable channels are serving like aspirin these days. The problem is this show hasn't quite figured out yet how to integrate all the components into a uniform tone and direction.
  71. While the program as a whole has room to grow, Wilmore's comedy is sharp, solid and filled with keen observations and strong enough to have earned him the distinction of being the only high-profile black voice in late night television.
  72. So while the scripts and characters rival those of any network series (and beat most), and directors such as Clark Johnson (who played Lewis on "Homicide: Life on the Street") do them justice, the players surrounding Chiklis and Pounder are a notch or two less intense and effective. [12 Mar 2002, p.83]
    • New York Daily News
  73. Once we know the setup, at home and in the workplace, we can pretty much figure what we're about to see and hear. That doesn't make the show less amusing or Cristela herself less appealing. It does mean that once it has found its pocket, at least in the beginning, it seems content to work inside it.
  74. The show raises questions, and fans of the paranormal will find they're kept open in reasonably interesting ways. The problem is that time-travel shows require a level of attention casual TV viewers don't always want to invest.
  75. By staking turf between "True Blood" and "Twilight," Vampire Diaries hopes it has found the promised land. The danger is it could also be no man's land.
  76. Santos very nicely balances her conflicting roles as the kid who wants to experience life and the teenager who finds she has become the mother. We’re rooting for her, the same way we root for the teens in other MTV dramas. The network does this stuff well.
  77. Fans of the comic book and first-rate psycho-horror may form a large enough audience to make this a hit. Those not in those groups may want to start by taking a deep breath.
  78. What we have here is a classic family sitcom, with jokes that come from the quirks of the characters rather than a mandate that there be a sex line every 30 seconds.
  79. The dialogue is crisp, no scene lasts too long, and despite the large cast, we can follow what's happening. What's not clear yet is whether this show has its own style and vision.
  80. It all adds up to an hour of decent entertainment, and there's room for enough character development to give NCIS: Los Angeles a personality of its own.
  81. Viewers who were glued to the trial may note a misplaced detail here and there, but in general they are likely to find this 87-minute movie a solid summation of Arias’ disintegration.
  82. While Family has predictable moments, it has the potential to provide some pleasant surprises.
  83. Poehler has great skill at delivering outrageous lines in a droll deadpan. That sets the tone for a cast, including Lowe and Scott, with similar abilities. Too many of the sketches, though, cross that fine but visible line between bemused absurdity and slapstick.
  84. It's still lively, still fun and still has the right touch of snap in the dialogue. But at times it's working a little too hard, and maybe requiring the viewer to work too hard as well.
  85. The Michael J. Fox Show, which marks his welcome return to a regular network series, isn’t an instant classic. But it does a lot of things right.
  86. It makes for lively drama, and, given what was at stake for religion and royalty, its historical significance remains legitimate. It just gets hard to watch sometimes, because even though most drama is fueled by its villains, The Tudors needs a few more characters we could actually like.
  87. A few horror-story cliches seep in, but with Bello playing a character who is strikingly unglamorous and at times not even sympathetic, Big Driver should deliver for its audience.
  88. Once TNT's new Leverage scrambles to its feet, it becomes an adept, fast-moving adventure yarn built on the familiar but serviceable premise that justice sometimes isn't best served through legitimate channels.
  89. Nip/Tuck may sag a little here and there, but for what it is - a goof on medical shows--its scalpel still has an edge.
  90. The Crazy Ones has its charms. It also has yet to find the balance between Williams’s shtick--his solos, basically--and the good ensemble comedy that would keep viewers coming back.
  91. As they build the show’s foundation, dozens of other characters float by. Figuring out which ones matter, and why, will be part of the fun and the challenge in this compact series.
  92. It makes for an intense two hours.
  93. Creator/writer/director Neil LaBute uses a theatrical style, heavy on dialogue. That works out well both for developing the characters and putting comedy into the situation.
  94. If you’re willing to suspend enough disbelief to enjoy Zoo, you will definitely think twice before ever again saying, “Here, kitty, kitty.”
  95. The cop is a little too snarky, the nurse is a little too cavalier and the 16-year-old doesn't look a day under 21. That said, A&E's new Florida police drama, The Glades, still has some juice.
  96. This new documentary on the British artist Banksy doesn’t pretend to tell us whether he’s a great conceptual artist or a great scam artist.
  97. The producers provide plenty of action, much of it triggered by the understandable fact that every enemy on Earth would like to get hold of Gabriel’s microchip, or find one of his own. In keeping with CBS’ tradition of action procedurals, Intelligence will solve cases of the week as well as grapple with longer-term dramas.
  98. There’s warmth and some humor here. It’s also been tweaked so that, unlike the movie, it isn’t only for teens. But Bad Teacher has a tough test ahead.
  99. Whether it will sustain as a weekly TV show or whether it would work better as an occasional random 10 minutes of dinner conversation remains to be seen.
  100. It's so intensely focused on these specific girls and their "Sex and the City" dream, though, that at times it may not resonate as much with a larger audience.

Top Trailers