New York Daily News' Scores

For 1,327 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 3.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Boardwalk Empire: Season 1
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 552
  2. Negative: 0 out of 552
552 tv reviews
  1. The show's basic appeal is still there. ... But just as the current generation of MTV veejays have adopted the same annoyingly aloof assembly-line attitude, so have the current participants in "The Real World," by watching MTV for years, decided how to present themselves. [9 Jul 1996]
    • New York Daily News
  2. "Without a Trace," however derivative, is a solid program, and ought to please "CSI" audiences.
  3. 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.
  4. 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.
  5. It makes for an intense two hours.
  6. We’ve seen so many mob documentaries and dramas that the whole subject sometimes seems cartoonish. Inside the American Mob does not.
  7. 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.
  8. Low Winter Sun is a good show with the potential to grow into a very good show.
  9. It’s a breezy show that’s fun without being just silly.
  10. The Gatekeepers reveals a few anecdotal secrets here and there, most of them charming and none that will damage any ex-bosses’ reputations.
  11. 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.
  12. Lucky 7 tries to cram a lot of diverse drama into one show. Its challenge will be doing story lines clearly and well rather than zipping all over the map.
  13. 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.
  14. 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.
  15. With law, politics, forbidden romance and the sordid doings of awful rich people all on the table, the raw material is certainly available for Betrayal to become a solid guilty pleasure.
  16. 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.
  17. 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
  18. This Ironside starts out as a good cop show that Underwood could turn into a very good one.
  19. While Family has predictable moments, it has the potential to provide some pleasant surprises.
  20. The documentary covers, thoroughly and in as balanced a way as possible, the murder of a 15-year-old California middle-school student by a classmate.
  21. It’s a good primer, because PBS does structured history well. It just feels more academic than slam-bang.
  22. 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.
  23. Where “Pretty Little Liars” has set the standard for teen mystery/soap-opera TV, Ravenswood comes on more like a horror flick.
  24. 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.
  25. The sci-fi here is easily digestible, so for fans of cop dramas, Almost Human is worth a look.
  26. 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.
  27. 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.
  28. Kirstie breaks no new ground, and it doesn’t try to. It walks a path we have enjoyed before.
  29. 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.
  30. 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.

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