New York Daily News' Scores

For 1,243 reviews, this publication has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% 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: 60
Highest review score: 100 Sons of Anarchy: Season 6
Lowest review score: 0 The Cougar: Season 1
Score distribution:
  1. Mixed: 0 out of 511
  2. Negative: 0 out of 511
511 tv reviews
  1. One of this season's most tasty and twisted TV treats.
  2. It's one of the best new shows from any network this year, and is a total, almost giddy delight from start to finish.
  3. If you loved "The Office" you may have grave doubts that any followup comedy could be as good and as quote-the-dialogue funny. "Extras" is that - another triumph, and a perfect Sunday-night companion piece for "Curb Your Enthusiasm."
  4. In theme and execution, in caliber of performance and level of dramatic tension, "Sleeper Cell" is an impressive, relentlessly gripping drama.
  5. Four hours in, living up to past standards no longer is in question. Setting new ones is what's going on here, as "24," partly by cashing in on our knowledge of and commitment to previous seasons and characters, gets off to its best start ever.
  6. The language, the acting, the themes - everything in "Deadwood" is good as gold. In TV entertainment terms, maybe even better.
  7. Every hour is impressive, surprising and entertaining.
  8. It's bold, different and exciting, with a central character and performance that take your breath away.
  9. "The Nine," starting tomorrow, is the show most people will want to discuss at the office water cooler.
  10. Like the best TV comedies - from "Seinfeld" to "The Mary Tyler Moore Show," and all the way back to "The Jack Benny Program" - "30 Rock" sparkles not just because its central star gets to shine, but because everyone does.
  11. Unlike most serialized dramas of late... "24" continues to do everything right.
  12. As with the Gervais-Merchant "The Office," the more time you spend with the characters in "Extras," the more you feel their pain as well as laugh at their expense.
  13. "The State Within" is challengingly cerebral - but at times, it's also almost painfully visceral. Don't miss it.
  14. The law-firm arena is one of TV's oldest and most familiar genres, but Damages enlivens it by defying expectations.
  15. With strong performances by a cast that includes Alfred Molina, Michael Keaton, Rory Cochrane and Chris O'Donnell, this adaptation of a Robert Ludlum novel reels you right in.
  16. The team behind this series--creator Tom Kapinos from "Dawson's Creek," executive producer Scott Winant from "My So-Called Life" and "thirtysomething," and Duchovny himself--makes it easier for Duchovny by surrounding him with sparkling female characters and talent.
  17. Sameer Asad Gardezi and his writing partners have created something very different in Aliens in America--and something very, very funny.
  18. Pushing Daisies is perfect.
    • 73 Metascore
    • 100 Critic Score
    Shrek the Halls is pure delight.
    • 78 Metascore
    • 100 Critic Score
    Writers Kirk Ellis and Michelle Ashford do justice to McCullough's narration, and director Tom Hooper has a straightforward style that gives flesh-and-blood dimension to names from history books. Best of all are two extraordinary performances at the center: Paul Giamatti as Adams and Laura Linney as his wife, Abigail.
  19. It's not comfortable. Just compelling.
  20. The real skill and appeal of Mad Men remains in its characters.
  21. Fabulous in every respect.
  22. Archer is the rare show that's in love with its own wordplay and good enough that this love becomes endearing rather than annoying.
  23. Justified doesn't have the bite of "Fire in the Hole," from which the first episode was adapted, but it gets much of the tone--droll, a little weary, frequently tense, sometimes conflicted--never forgetting that at the core, good is challenging evil.
  24. Watching HBO's new Boardwalk Empire is like sitting in your favorite tavern and hearing someone say, "Drinks are on the house." Friends, it doesn't get much better.
  25. The next great "Masterpiece Theater" series has arrived.
  26. Season one set the bar high. Season two clears it.
  27. Whether you've followed the show to this point or not, you can tune in and savor smart TV drama at its best.
  28. If Sunday night's two-hour return episode of Mad Men ended after the first four minutes, it would still put the show in contention to win its fifth straight Emmy as the best drama on television.
  29. It might be 16 of the best upcoming hours on television.
  30. With the bar set at Emmy, Homeland has little room to falter. With this return episode, it doesn't.
  31. [Creator Julian Fellowes] never been afraid to have characters we like do things we don't like. That continues in season three, which finds plenty of new ground even as it inevitably begins treading back over some old.
  32. Every few years, if we're lucky, a new sitcom arrives that is so effortlessly funny, its characters so perfectly realized, that it seems more like a third-season opener than a fresh-from-the-box pilot. "The Mary Tyler Moore Show" was that way; so were "Taxi," "Cheers" and "Frasier," to name a few others...I may be overstating things, but I don't think I am, by placing tonight's Michael J. Fox showcase, ABC's Spin City, in the same league. [17 Sept 1996, p.70]
  33. While many shows that have reached this point in the road have left their creative peak behind, Mad Men shows no such erosion. It still has things it wants to say and it still has the poetry to say them well.
  34. With this delightful and boldly distinctive new series, the co-creator of "Seinfeld" has managed to accomplish two seemingly impossible things at once: He has given HBO its best sitcom since "The Larry Sanders Show," and given all of television the best sitcom since "Seinfeld." [13 Oct 2000]
  35. The improv-based exchanges don't even sound showy anymore. The regular cast members, and even such recurring celebrity guests (usually portraying pettier versions of themselves) as Ted Danson and Richard Lewis, have gotten so skilled at this unusual manner of filmmaking that "Curb Your Enthusiasm" feels almost like reality TV. [13 Sep 2002]
  36. "Futurama," like "The Simpsons," is a multi-layered, full-family treat: silly and goofy-looking enough to hook the kids, and subtle and sarcastic enough to charm their parents. [26 Mar 1999]
  37. But at the true core of this strange and wonderful series - wackiness notwithstanding - are the often strange and, ideally, wonderful relationships among members of a family. [7 Jan 2000]
  38. The crispest, wittiest and most delightful new sitcom of the season making as self-assured, clever and distinctive a debut as "Frasier" did last season. [20 Mar 1995]
  39. Hasn't lost one whit of its wit between seasons. [19 Jul 1995]
  40. It's as brilliant, hard-edged and hilarious as ever. [13 Nov 1996]
  41. A brooding, brilliantly written and crafted cop show. [25 Oct 1996]
  42. "The Sopranos" remains a showcase for ferociously distinctive writing, inventive direction and brilliant portrayals of surprisingly, even disturbingly, sympathetic multilayered characters by a perfectly cast group of actors who hold back nothing. [14 Jan 2000]
  43. [The first episodes] offer the thrilling combination of provocative drama, bawdy comedy and ingenious production that has become the show's signature feature. [2 Mar 2001]
  44. Kelley does two things better than anyone else writing courtroom dramas on television. He exposes and unveils legal tactics in a detailed and inventive fashion, and he does so while creating and sustaining strong characterizations. [4 Mar 1997]
  45. The question, of course, is whether the show can sustain its heat and, more importantly, its unique character and remarkable quality in its sophomore season. Tonight's season premiere suggests the answer is yes. [14 Sep 1998]
  46. A fully satisfying and fitting TV finale, and a show that really should be seen. It's acted as well as it's written and directed, which means it's just about perfect. [21 Oct 2004]
  47. Sons is on track to stand among the best TV shows of our current golden age, and we have two more seasons to watch it get there.
  48. Relentlessly intense and depressing, ferociously written and spectacularly acted. [14 Apr 2000, p.135]
  49. The gamble is that other characters can hold our interest and move the ball forward while we wait for Carrie and Brody. Mission accomplished.
  50. When you care about everyone in a town like Deadwood, every hot argument, every passionate embrace, every sudden murder is liable to delight, disgust or surprise. Once a week, Deadwood is a phenomenal place to visit - but I wouldn't want to live there. [4 Mar 2005, p.127]
  51. It's as funny in some places as it is raw and touching in others. Make an effort to watch this premiere, and add it to your short list of must-see TV. [21 July 2004, p.80]
    • 90 Metascore
    • 100 Critic Score
    Rescue Me is like a roaring five-alarm fire. The moment it seems the blaze is under control - whoosh - the place explodes. And just as quickly, it's under control.
  52. For its first three seasons, Rescue Me, starring Denis Leary as a haunted New York firefighter, was one of the funniest dramas on television. This season begins with a slight shift: It's now one of the most dramatic comedies. [13 June 2007, p.75]
  53. There's not a shred of a doubt in my mind, however, that Murder One is twice the drama "ER" is and that viewers who climb aboard the latest effort from Steven Bochco and company are in for a hell of a ride. [18 Sept 1995, p.68]
  54. Weiner’s ability to capture “human” set Mad Men apart at the first beginning and shows no sign of faltering at the second.
  55. This 10-hour production on World War II in the Pacific is an ambitious, imperfect, intense and often compelling look at combat that gets dirtier and more ragged with each episode.
  56. The two-hour pilot is a wonderful show - the best start for a "Star Trek" series in its long and amazing history - and Bakula's instantly likable characterization is no small part of it. [24 Sep 2001]
  57. By now, what we shouldn't take for granted is how good the performances in "Curb" have gotten to be. [7 Sep 2007]
  58. Ingenious. ... It's an inspired, imaginative technique, making the slices of standup routines fit seamlessly into the therapy sessions, which is sort of what standup comedy is, anyway. [26 May 1995]
  59. One thing the witty pilot by Dottie Dartland and Chuck Lorre doesn't do is get the respective in-laws into the same scene but that's bound to happen soon. And when it happens, it's bound to be a real howl. [24 Sept 1997, p.70]
  60. It has everything you want from such a show: quirky characters, gifted actors, a captivating central story - and questions that leave you not only wanting more, but hungry for it.
  61. Their dance of love and rejection, of giddiness and bitterness, is a warped waltz, and Kingsley and Bening clearly relish every step.
  62. It has a sprawling cast, but even before the pilot is over, because of the clever way it's written, directed and acted, you'll know, and like, every single character.
  63. There's enough classic "Sopranos" action -- some of it involving extreme physical violence -- to remind the average person that where the Sopranos are is not where most of us want to go. Yet at the same time, these episodes repeatedly return to the ways in which the Soprano clan, in its desperate, sometimes twisted and sometimes touching way, seeks to embrace family values.
  64. "Big Love" sounds like a high-concept, comedic, intentionally sensational enterprise. Parts of "Big Love" are sensational, all right. But only in the best sense of the word.
  65. "Thief" brims with strong, potent performances.
  66. Elizabeth is mercurial, powerful, unpredictable - qualities made real, and a bit frightening, because of the intensity with which Mirren commits to the role.
  67. Hilarious.
  68. Any fan of Westerns, or of Duvall, will not be disappointed if this "Trail" is followed.
  69. It just might be the kids, the ones who grow up too soon in the hard world of "The Wire," who steal opening night.
  70. It boldly goes where no man has gone before.
  71. Powerful.
  72. Though the overall tone is light, there's enough darkness in "The Riches," and enough depth in the performances, to make you care about these people - even when you don't totally buy the premise.
  73. It's as quirky, original and funny a comedy as "Universe."
  74. "Raines" not only deserves an audience - with any luck at all, it deserves a renewal, and a firm spot on NBC's fall schedule.
  75. I can't remember the last time I laughed so quickly and loudly at a new TV series.
  76. If you relish the devious darkness of "Dexter" and the wonderful wackiness of "Weeds," you'll love the macabre moodiness of "Meadowlands."
  77. As You Like It is effortlessly entertaining from start to finish.
    • 54 Metascore
    • 88 Critic Score
    While it remains to be seen if Gossip Girl will take the plot plunge "The O.C." did after its first season, the beginning here is encouraging.
  78. Chuck sounds like a regrettably derivative idea - a remake of "Jake 2.0." But it's not. Chuck is a blast.
  79. How fitting, then, that the plastic-surgery drama returns Tuesday for its fifth season by dangerously reinventing itself. Dangerously - and totally successfully.
  80. Whichever the case, or whatever combination of the two, watching these 15 aspiring fashion designers compete for their big break is more fun than a new Victoria's Secret catalogue.
  81. The episodes that kick off this last 10-show run don't feel perfect. But they almost always feel intuitively right.
  82. In Treatment feels neither soapy nor formulaic, because of the intensity with which it's presented.
  83. The show itself, however, does much of its best work in the shadows, where nothing is that clear.
  84. Tremendously likable.
  85. It's all charming, with the crackle of Kelley at his best. [1 Oct 2004]
  86. One of the new season's best and most unusual series, with a shot at true excellence within its reach. [8 Sep 1997]
  87. It's dependent almost entirely on characters rather than plot - but, with such recognizable characters, "The Office" works beautifully. [10 Oct 2003]
  88. FNL didn't get to be the best new show on prime time last season by losing its balance, and tonight's opener has the large cast still making almost all the right moves. [5 Oct 2007, p.147]
  89. The FX series begins its second year with assurance, inventiveness and more than a little boldness.
  90. Even more so than last season, we see an awful lot of Christian's bare backside. But the best scenes are when we see him naked emotionally, whether with his psychiatrist or with best friend Sean...This year, that's the core of Nip/Tuck, and it starts the season dynamically.
  91. Rescue Me is one of the darker dramas on television, and also one of the darker comedies: Its humor is as brittle and brutal as its intense scenes, and, like everything here else, is memorably credible.
  92. The L Word succeeds precisely because it isn't exploitative, and because its sexy scenes are anything but gratuitous. [16 Jan 2004, p.121]
  93. Miramax will release the winner's movie next year. Its value, at this moment, is a question mark, but Project Greenlight is an impressive exclamation mark. [28 Nov 2001, p.101]
  94. The shocker is that this third variation on the formula, made for American TV, is the best yet. [26 Jan 2004]
  95. To its credit, "Soul Food" doesn't stop to explain everything to us. The decision to let viewers pick things up as the show proceeds keeps it from getting bogged down in obvious, clumsy, drama-killing exposition. The result is truer and more natural dialogue, better pacing, events that unfold slowly to engage viewers more completely, and characters whose personalities are revealed by what they do and say in the context of their immediate situations. [27 Jun 2000]

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