New York Daily News' Scores

For 1,370 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: 61
Highest review score: 100 Spin City: Season 1
Lowest review score: 0 The Cougar: Season 1
Score distribution:
  1. Mixed: 0 out of 567
  2. Negative: 0 out of 567
567 tv reviews
  1. Much of A to Z deals in a different kind of action than most recent sitcoms about young singles, where the only goal often seems to be setting up predictable sex jokes. Because of that, A to Z may seem a little less frenetic. In truth, that’s good.
  2. The episode moves along at a good pace, with only a couple of moments when the timing feels a little too coincidental.
  3. The Dust Bowl sounds like a dry subject, no cheap pun intended, and Burns works hard to humanize it by talking with some of the now-elderly people who made it through.
  4. It all adds up to plenty of action and suspense, with heroes we like and villains we can boo and hiss. And the fate of the planet at stake. Who says there ain't no cure for the summertime TV blues?
  5. Maybe the best new sitcom of the fall is one of the first.
  6. Wright is a diligent reporter, and his material has been whipped into a smooth script under producers David Simon and Ed Burns.
  7. It’s all done with brilliant imagery and crisp production that differs from Sagan’s primarily because the technology just keeps getting better.
  8. After an episode or two, when you sort out the characters and how their lives bang together in the dark, elegant shadows of late-1950s Miami Beach, you'll find rich drama, well written and beautifully styled.
  9. What sets Mozart apart from MTV shows, though, is that here we have a handful of twentysomethings and a lot of older folks, not vice versa. It plays this fresh turf well, on both sides.
  10. The show's long break seems to have rejuvenated its story lines, in which intense, rapid-fire action plays out against the backdrop of a complex, methodical geopolitical chess game.
  11. Alias is so captivating because the actors and the writers make you believe in the characters, the situations and the jeopardy. There's a lot of humor, too, in both the romantic relationship and the James Bond-style spy gadgetry. And there are plenty of surprising turns. [28 Sept 2001, p.149]
    • New York Daily News
  12. The best new cop drama of a TV season that has more police than a presidential motorcade. Blue Bloods doesn't have the best time slot on TV, but it's got some of the strongest characters and performances.
  13. Very often, reality-show participants stop seeming like real people, as if being on TV makes them abstract characters. [Daughter] Bailey's bad moment here makes Downsized feel painfully real.
  14. This reincarnation of The Normal Heart raises all the right disturbing questions.
  15. The result is intelligent if occasionally dense tales that focus on the hardest part of a detective's job, which is trying to outthink someone whose thinking is already, by definition, off-center.
  16. ABC's new FlashForward requires concentration and endurance. It's well worth the investment of both.
  17. It’s just an entertaining story.
  18. It's now even easier to get so caught up in the dramas that you can forget this show is really funny.
  19. No, The Hour is unlikely to remind anyone of "Mad Men." Except that it's superior period drama with a deliberate pace.
  20. Kurt Sutter's epic tale of an outlaw California motorcycle club launches its fifth season Tuesday with the same visceral intensity that stamped season four.
  21. Bryan Cranston's Walter remains one of the best-played characters on television, and he's surrounded by a strong cast that, knowingly or unknowingly, plays off his desperation.
  22. Those Who Kill can be a tough watch, because it has some intense scenes. Fortunately, they aren’t unduly extended, and for those who stick it out, there look to be rewards.
  23. Undercover Boss isn't spectacular TV. But its real appeal lies in the exercise itself: watching a CEO meet actual workers and realize they work hard at jobs often made harder by petty rules and policies.
  24. Manhattan dramatizes with a little extra dab of soap, but generally quite engagingly life in the secret World War II compound where the country's most brilliant scientists were tasked with creating a superbomb before the bad guy could.
  25. In the end, the movie transcends the legal chess match, defining itself instead by the sheer wattage of Spector’s personality and his high-level sparring with a woman whose brains match his own, minus the madness.
  26. Hatfields & McCoys doesn't just explain a feud, it humanizes the people on both sides and reminds us how differently some of our ancestors lived just a few generations back.
  27. 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.
  28. All of this unfolds at a snail’s pace--at least in this first episode--and for some, that may be a bit of a let-down after last season’s violent conclusion. But that’s fine. This is a series that has already proven its mettle.
  29. It's nicely crafted with a slower pace than the average police "procedural," but more than enough character intrigue to compensate.
  30. If the season turns out to be primarily a complex Middle East thriller, that could still be entertaining. Homeland has just set us up to want more.

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