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 4.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The State Within: Season 1
Lowest review score: 0 How to Get the Guy: Season 1
Score distribution:
  1. Mixed: 0 out of 609
  2. Negative: 0 out of 609
609 tv reviews
  1. Made In Jersey feels curiously half-dressed.
  2. The film isn’t after “why.” It just wants to say that a lot of physical and circumstantial evidence points to a missile. Toward that goal, it’s on target.
  3. A stylish ambience and a familiar cast might not be enough to make 666 Park Avenue into another unlikely Sunday night hit for ABC.
  4. The deadpan goofiness remains fresh enough to keep fans interested.
  5. Although some of the concepts in this premiere episode are clever - a blind white supremacist who doesn't know he's black, a training film at a Kinko's-type copying business that teaches how to alienate customers - the results aren't as sharp or funny as the ideas. [22 Jan 2003, p.74]
    • New York Daily News
  6. Reaper has a clear potential to be simply cartoonish, like a bad adaptation of an action comic. But it surprises you, sprinkling in enough human nuance to keep several decent character dramas percolating.
  7. It's fun in a familiar sort of big-hair soap opera way.
  8. Scoundrels seems less concerned with how it sets up the rest of the series than with the laughs it hopes that setup will engender....Still, Scoundrels isn't all sitcom setups and repartee. At several points, just when we think we have one of the Wests safely caricatured, he or she will do something that surprises us.
  9. The Stones have been better showcased and explained than they are in Crossfire Hurricane. Still, as personalities and musicians, they never fail to provide a good measure of satisfaction.
  10. The dialogue only occasionally gets "Star Trek"-ish, and the special effects are nothing special. But it’s not a bad story, it moves well and you don’t have to wait a hundred years for the conclusion.
  11. While it’s too early to tell for sure, Harmon does seem to have brought back some of the show’s earlier spirit. What he’s not doing is making an overt bid for any new, broader audience.
  12. While they aren’t Amish or Mennonite any more, they aren’t “English,” either. If the show can probe that uneasy turf without getting caught up in reality-show fussing and fighting, it could be onto something legitimately interesting.
  13. From the early evidence, though, there’s every indication a Hallmark series will be the same sort of television comfort food as a Hallmark movie.
  14. Washington Heights keeps viewers more off-balance than your average program, scripted or unscripted, about 10 young people at the point when they have to start figuring out the rest of their lives.
  15. The drama thickens fast, and if the creators keep stirring rapidly, Jane by Design could become the same good soapy fun as its best ABC Family sisters.
  16. West and the rest of the cast perform solidly as well, and once we know the lineup, presumably we’ll dive deeper into the game.
  17. The biggest yet most easily adjusted problem is that of tone. In many scenes, Arli$$ hits everything just right; a scene in next week's episode, with Arliss conducting a high-pressure negotiation with the owner of a pro basketball team, is Wuhl and Arli$$ at their best...In other scenes, though, the laughs are hit too broadly, and even the soundtrack and editing punch the punch lines much too aggressively. "The Larry Sanders Show" knows to let the laughter find its own level; in time, I hope, Arli$$ will also. [9 Aug 1996, p.115]
    • New York Daily News
  18. Kell isn't Miranda, through no fault of her own. At day's end, Kell on Earth feels a little like a knockoff.
  19. Plenty of material here, spoken by people we like. It's what a good cable sitcom can be.
  20. Truthfully, it doesn’t add much value to have Grimes’ husband Gary (Julian Ovendon) deliver a melodramatic speech, accompanied by appropriate mood music, about how he married her because he knew she wanted to save the world. Fortunately, the hunt itself has been crisply framed.
  21. Between old fans who will enjoy a revisit and young folks who never even heard of Miss Ellie, TNT is placing a sound bet.
  22. The documentary doesn’t fawn over its subject. War skeptics get plenty of time to explain why they think Cheney was wrong.... Conversely, when the filmmakers make an effort to humanize Cheney, he doesn’t give them much to work with.
  23. It's so heartwarming it would make a penguin take off his tuxedo in the middle of an Antarctic winter.
  24. While the execution isn't perfect and the first episode feels a little cluttered, it has at least two ideas that create interesting drama and could even stimulate a little thought.
  25. We watch a relationship develop between Johnson and Masters, played particularly well by Caplan. Yet much of Masters still feels clinical, as if it isn’t sure how to remain faithful to the real-life story and still give the TV drama the sex appeal viewers expect.
  26. As drama it has a few holes and clearly a lot of backstory that will unspool at its own pace....But the narrative is crisp, fast and easy to follow.
  27. In weeks ahead, the show will likely work out a balance between the jerk and the laughs. Then it can also start exploring the other characters, all of whom have the potential to fuel amusing ongoing subplots.
  28. Bitten seems aimed more at a mainstream audience than the hard-core werewolf/vampire crowd, which is okay. Probably smart, in fact.
  29. White People feels like it jumps around a lot. Much like America on the subject of race.
  30. Even by the soap-opera standards of telenovelas, it feels a little much. The pieces at first don’t always mesh smoothly. Rodriguez is terrific, though, and this could be that rare telenovela that assimilates.
  31. Jimmy Fallon took NBC's late-night slot for his first test drive early this morning, and it needs a little tuning up. It also showed some promise.
  32. Fans will find much to enjoy here. At too many points, however, these first three episodes suggest that rekindling Upstairs Downstairs is not quite like riding a bicycle.
  33. Once the viewer adjusts to the notion that marijuana here is as legal as a Snickers bar, the rest becomes a fairly straightforward small-business drama.
  34. Chase is as close as TV gets to a Western these days, and that's a good thing. It spins a good yarn. In the end, though, it also feels like TV's version of a "tweener." It's probably too big for USA, but it may not pack quite enough flair to stand out on NBC.
  35. It takes a while for Hank and his assistants Rachel (Addison Timlin) and Arron (Scott Michael Foster) to grasp all this, even with the unwanted help of FBI agent Beck Riley (Carmen Ejogo). Once they have, and we have, the setup is solid.
  36. The Whole Truth gets a split verdict. Solid idea, inconsistent execution.
  37. The journey of mankind on the History channel, while ambitious and informative, at times comes off a little too much like a history lesson.
  38. While Hemingway & Gellhorn makes it clear she had world-class writing skills of her own, Gellhorn's story often does feel subsumed here, as if all of Hemingway's swagger and bravado really did make him a more prominent figure, or at least a more interesting one.
  39. Despite a good veteran cast led by Michael Imperioli, Detroit 1-8-7 doesn't immediately set itself apart from a whole pack of competing cop shows.
  40. Some of it is moderately profane. Some pushes traditional boundaries of taste, though in today's comedy world these guys aren't even close to the edge.
  41. Even if you're confused when tuning in as a first-timer, it's a lot better than not tuning in at all. [4 Nov 2004, p.103]
    • New York Daily News
  42. Heeding one of the elementary vampire show lessons, Chloe King sets all this against a backdrop of clever teenage banter and the awesomeness of teenage romance.
  43. Happily Divorced, TV Land's third shot at a new old-style sitcom--the George Segal parents-and-son romp "Retired at 35" is the other one--tries harder than "Cleveland" and generates fewer laughs. "Happily Divorced" is not without its pleasures.[...] Okay, Drescher, who most famously starred in "The Nanny," may be an acquired taste. But if you like her combination of attitude and accent, she provides a full dose of both here.
  44. Where “Pretty Little Liars” has set the standard for teen mystery/soap-opera TV, Ravenswood comes on more like a horror flick.
  45. It’s a pretty good one--a kind of reset from Cartoon Network’s last Batman production, "The Brave and the Bold."
  46. Watching someone explain the obvious may not create electrifying television, but once in a while, it's okay for TV to be more valuable than fun. Like when it comes to how you find a job.
  47. There’s nothing wrong with a warm rhapsody on the flowering of television. But when a TV series starts that way, it feels like it’s saying, “But first, a word about us.” And then we get to all the other stuff.
  48. While Titanic gets melodramatic and even a little soapy, it achieves what seems to be its main goal: to remind us that when the ship went down, the most terrible loss may have been 1,500 dreams.
  49. Those "Huh?" moments, combined with the general creepiness of religious cults, makes Big Love uncomfortable at times. But for continuous action and a multitude of subplots with a minimum of bad language, it won't disappoint.
  50. When their [Mabel and Dipper Pines'] plans distintegrate into dust, it gets good for the rest of us in this quirky and endearing new animated Disney series.
  51. Individually, they [characters] remain fun, even in a preachy scene where Glee members forget the Golden Rule. But all the vignettes and moments need a show around which to revolve. Glee needs the New Rachel.
  52. It does fine when it sticks to the music and the basic story, then stutter-steps a little when it starts to suggest that, say, the Eagles defined a memorable era.
  53. Over six episodes, almost no cliche of TV epics is left unlampooned. In the end, ironically, Spoils of Babylon creates some excess of its own.
  54. Mostly, though, all the evidence together doesn't add up to an answer. Whatever went wrong with Aunt Diane that day, we don't know and may never know.
  55. Like the Navy, Carrier is perfect for some and probably isn't for everyone.
  56. Like many of Showtime's most cherished series, House of Lies can be annoying and entertaining at the same time.
  57. For whatever reason, probably no more complex than plain old first-night jitters, Fallon didn’t bring his A-game to go with his A-list of guests.
  58. Bates Motel remains such a well-acted show that it discourages casual viewing more and more with each episode.
  59. Nothing that happens with other characters or elsewhere in the plot, though, is likely to diminish Shahi's presence.
  60. All in all, it's commendable ABC is so committed to recycling. Green is good, even if in this case, it's mostly the color of money.
  61. As Buster Poindexter once sang, they're hot, hot, hot...If Charmed gets more savvy, scary and sexy as weeks go on and it's a good bet it will falling under its spell will be an easy thing to do. [7 Oct 1998, p.93]
    • New York Daily News
  62. Savage U blends his likability and his well-honed shtick in a way that should appeal both to viewers with serious sex questions and casual observers who get off from hearing someone on television talk dirty.
  63. One of the strengths of Narcos is its refusal to paint anyone as purely good or bad.
  64. Burton and Taylor confines itself to the nine months of the tour, and while that’s a wise decision, it does mean we only get allusions to other aspects of their relationship.
  65. The Miracle Day mystery itself feels, at least at first, hopelessly tangled. Viewers may be willing to give it some time, though, because the action provides an entertaining ride.
  66. McLaren doesn’t come off as a conspiracy theorist or an agenda-crazed obsessive. He comes off as a detective building a case. But then, so do others. And only one can be right.
  67. Things are a little perkier for the characters at the start of this season than when we last left them.
  68. Once the race starts, the drill is familiar. Sand dunes, snowy peaks, raging rapids, weekly eliminations. It doesn't diminish the achievements of the contestants that we sometimes feel like we've been there and seen that.
  69. This new documentary on Vogue magazine makes the road to trendy clothing images sound more like a midnight slog through a gator-infested swamp.
  70. If the acting isn’t remarkable, we get a sense of what life was like in one of country music’s royal families.
  71. Everyone talks fast, suspecting that if they pause to breathe, someone else will jump in. But it’s not too chaotic, and most of The Approval Matrix comes off as a discussion actual people could really have.
  72. The Good Wife has endured, despite borderline ratings, because it handles the fundamentals so well. It needs to keep doing that.
  73. Success is the exception for shows that try to weave mythologies this complex, and Sleepy Hollow falls back early on predictable conventions like having Abbie’s deceased ex-boss leave copious files on mysteries he could never solve.
  74. This kid behaves so obnoxiously toward the whole world that we want to stand up and scream, "Doesn't anybody in this whole school know how to spit in this kid's sushi roll? Is there not one of you who could jam his head into a toilet?" Which is, of course, exactly the response that creator Jonah Hill wants.
  75. Viewers glimpse the fuller scope of the problem, in most cases, at the same time Alan does, giving Helix a nice sense of ominous building tension. It’s also not too geeky a story, so someone who just likes suspense drama can follow it.
  76. The sci-fi here is easily digestible, so for fans of cop dramas, Almost Human is worth a look.
  77. Like any good graphic novel, The Cape doesn't forget to sometimes be funny. It also at times asks us to suspend disbelief.
  78. Killing Lincoln gives us some of the lost minutia of the event. Those factoids, like the disappearance of the one autopsy photo of Booth, are intriguing. It’s only the TV-drama flourishes that aren’t.
  79. As a television series, The Casual Vacancy stands on its own, but it has only a goblet’s worth of Potter magic.
  80. There's still a lot to like about Chuck, starting with the characters themselves....The romantic part is not, however, the only excess creeping in. Flashbacks, fantasies and slo-mo scenes seem increasingly prominent and that's not good, because they're much more effective--and funnier--if they're used sparingly.
  81. At the very least, it maintains TV Land's brand as the comfort food of television.
  82. What makes it all work is the good time the Cassidys, especially David, are having in these roles. In the end it's contagious. Shakespeare, no, but clever enough to be good 'tween fun.
  83. Definitive history The Kennedys is not. But most of the flaws explored here mostly make the characters seem human. The series credits wins as well as losses and sends most of its characters home on a positive note.
  84. Brooklyn DA feels like a hybrid, both in genre and content.
  85. Jill and Vanessa aren’t discovering anything that “Real Housewives” watchers didn’t notice many episodes ago. Still, it’s reassuring to know the network that created the beast can also be amused at its underside.
  86. It’s funny. It’s also scattered, and in the first episode it doesn’t push envelopes or test edges.
  87. The jokes that drive the plot revolve more around things like feeding drugs to assistant principal Stuart Proszakian, whose last job was being a prison clown with the Department of Corrections.
  88. It succeeds reasonably well in that goal, distilling the story of Jesus’ life into a tale of political and theological intrigue that could fit comfortably into a contemporary TV procedural.
  89. For the nongeeks among us, watching HBO's sprawling new fantasy drama Game of Thrones is the epic TV version of trying to sort out the Middle East. That doesn't make it a bad show, and certain elements like the production can be savored by all.
  90. Free Agents has a strong premise, solid characters, good chemistry and some great one-liners. Like Alex and Helen, it needs to trust its heart.
  91. Chuck starts the second season a little more confident, a little funnier. That's the right direction to be moving in.
  92. The warning bell is that since the team begins as caricatures, the show could become a string of situation jokes. There's room for growth, though, as they say, and the creators wisely mixed up the cast.
  93. While Jackson will feel some genuine hesitation and wariness about Grammer's pit-bull personality, it doesn’t feel yet like the chemistry between the actors has fully developed.
  94. Because the contestants are also paired into teams, we get the sometime fractious reality-show dynamics of forced alliances. Based on this show, however, there don’t seem to be many truly obnoxious people whose dream is to design cool monsters.
  95. Neil deGrasse Tyson’s new weekly late-night talk show plays like a Flintstones vitamin. He wraps the real message in the kind of sweet packaging that makes viewers hardly notice they’re getting something that’s good for them.
  96. Even if Amish Mafia may evoke for some viewers the popular and somewhat discredited "Breaking Amish," the show has a running undercurrent that feels interesting and credible.
  97. While it follows the current cable pattern of taking dramas a little further than traditional broadcast shows, The Beast essentially serves up familiar cop fare.
  98. Recount effectively dramatizes that struggle, mixing a true-to-life script with real news footage.
  99. In the larger picture, Hellcats has the deceptively tricky mission of taking what has been a 90-minute idea in most other incarnations and stretching it into an ongoing series. But it serves up plenty of eye candy to enhance the ride, so hey, gimme an M for Marti!
  100. The discussions at times feel Seinfeldian, tempered with Leary’s fondness for outrage, darkness and absurdity. Leary’s last show, “Rescue Me,” worked because it never lost the humanity. The task for Sirens, which will take a few weeks, is to establish it.

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