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 4.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Pushing Daisies: 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. Nip/Tuck does not grab you like "The Shield," though, and does not ingratiate you to its quirky tone, like the network's comedy "Lucky." It's more artifice than art, and in everything from the performances to the dramatic contrivances, you can see the strain.
  2. Though it’s not the series’ strongest script, the two fine actors can still extract every nuance from it.
  3. Bitten seems aimed more at a mainstream audience than the hard-core werewolf/vampire crowd, which is okay. Probably smart, in fact.
  4. Chozen shows he’s still got the goods, and his prison years have given him rich material. Among other things, he declares rap needs to be more inclusive, which lays a serious message under the gags. Second, everything gets a lot cruder, an understandable decision that could downshift the show from unique to routine.
  5. Happily, Harrelson and McConaughey play the characters well enough, and the script is crafted ingeniously enough, that we want to know where it all goes next--and don't focus on the likelihood it will be no place good.
  6. 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.
  7. 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.
  8. Chicago Fire is positioned to succeed. Assuming it uses Hank to wrestle with deeper issues and not just explore all the ways his team can get dirtbags to spill, it’s got a great chance.
  9. 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.
  10. As the title declares with pride, the show has a lot in common with old-style drive-in second features at drive-ins.
  11. Much remains solid at the heart of rich Downton drama, and Fellowes has certainly shown in the past that he can bring it all back home.
  12. Justified has reached the point where we know some of its tricks. But thanks to Leonard and Olyphant and writer Graham Yost’s fine balance of humor and mayhem, it’s still an hour worth looking forward to.
  13. 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.
  14. 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.
  15. 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.
  16. Another Day presents a steady stream of music, traditional and new. By the halfway point, the larger point of the film also kicks in, about how this music keeps getting played because it’s too good to disappear. Happily, Another Day, Another Time is also this day and time.
  17. It starts by focusing on the riders’ determination and training. That’s good. Then it segues into the infighting and personality clashes among the competitors. That’s not so good.
  18. Sondheim comes off as distant and a bit cool here, reluctant to make eye contact and often speaking with a professorial air even when he’s talking about himself. But what most people want in Sondheim isn’t a drinking buddy. It’s a musical composer, and in that he qualifies on all counts.
  19. Numerous scenes reiterate what we knew, and side touches like Bonnie’s recurring ballerina fantasies don’t need the time they’re given.
  20. Kirstie breaks no new ground, and it doesn’t try to. It walks a path we have enjoyed before.
  21. State of Play makes a strong case that sometimes it’s mom or dad who needs a timeout.
  22. 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.
  23. 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.
  24. He shuffles onstage more slowly than he used to. But he’s still Cosby the comedian, and to underscore that point, he’s even on the same subject where he left off whenever you last saw him.
  25. Goldberg’s documentary doesn’t dwell on the what-ifs. It focuses on what a remarkable woman did accomplish, just by making us laugh.
  26. Lee directs the film in a way that spotlights Tyson’s humor and a degree of articulation that probably still surprises a lot of people.
  27. It’s not just a good story, it’s a good story well told.
  28. The sci-fi here is easily digestible, so for fans of cop dramas, Almost Human is worth a look.
  29. We like the people and the jokes are funny. We know there’s something vulnerable and even poignant behind that barrage of one-liners.
  30. There’s nothing terribly wrong with Killing Kennedy. We just don’t need the splashes of Hollywood in a story we already know way too well.

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