New York Daily News' Scores

For 1,390 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 4.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 30 Rock: Season 1
Lowest review score: 0 I've Got A Secret: Season 1
Score distribution:
  1. Mixed: 0 out of 576
  2. Negative: 0 out of 576
576 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. Chuck starts the second season a little more confident, a little funnier. That's the right direction to be moving in.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. Recount effectively dramatizes that struggle, mixing a true-to-life script with real news footage.
  12. 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!
  13. 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.
  14. The show has its tense moments. But it's closer to comfort television than "Hell's Kitchen."
  15. All this setup, and more, happens at the speed of light. But it's all easily understandable and gets us right to the real attraction.
  16. The premise of It Gets Better, that life improves dramatically after high school for gay teenagers, is tempered by the tacit acknowledgement that before then, it can get pretty bad.
  17. If you think sitcoms these days try way too hard for shock and awe, Are We There Yet? provides a rather nice alternative.
  18. Alphas is hardly the alpha show in this supernatural-hero genre, but it's still engaging.
  19. The Alzheimer's Project is hard to watch. It's just not as hard as the disease it examines.
  20. Messing is most agreeable, hitting her comedy marks and credible as supercop.
  21. Tonight's episode just feels a little too much like the first day of orientation, where we're squinting at nametags, instead of checking out what's for dinner.
  22. In the end, Citizen U.S.A. is heartening because it neither doubts nor ennobles those who have come here and decided to stay. Rather, it suggests that like every other citizen, each now has the freedom to succeed or fail.
  23. You can call Rizzoli & Isles glib and sometimes even silly, but you have to admit it's also fun.
  24. Maybe in the end, the Brit version works better simply because it understands that these characters are being whipsawed by highs and lows when all they really want is to get back to the middle. Whatever the nuances, the Brit version is worth watching.
  25. It's unglamorous, nuts-and-bolts police work, applicable to a wide range of law enforcement situations, and that's where much of the show's interest lies.
  26. It follows a familiar heartwarming chart without a lot of improvisation.
  27. Long-arc storylines usually need some immediate or fresh hook. Deception doesn't have that, instead reshuffling familiar pieces into a new puzzle.
  28. Lowe's Midwestern accent comes and goes, but in general it's a performance that will make viewers plow through the darkness and keep watching.
  29. The answers aren't especially explicit, and the viewer may suspect de Cadenet is looking more for the tone of the reaction than information. That exchange never becomes the most interesting part of the conversation.
  30. At this point, [it's] somewhere between a long shot and a lock.

Top Trailers