New York Daily News' Scores

For 1,342 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 4.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Mad Men: Season 7
Lowest review score: 0 How to Get the Guy: Season 1
Score distribution:
  1. Mixed: 0 out of 557
  2. Negative: 0 out of 557
557 tv reviews
  1. Over four nights, the episodes do gradually blossom into the kind of internal dramas that power Mark Burnett-style reality shows. Just be prepared for long early stretches with minimal action and not entirely riveting characters.
  2. Washington Heights keeps viewers more off-balance than your average program, scripted or unscripted, about 10 young people at the point when they have to start figuring out the rest of their lives.
  3. 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.
  4. It all adds up to an hour of decent entertainment, and there's room for enough character development to give NCIS: Los Angeles a personality of its own.
  5. The show still has some interesting things happening, and there are worse things on TV than a fast-paced action drama. But making it into “Son of 24” doesn’t feel like the right touch.
  6. There's a good cast at work here - but after previewing two episodes, "Medium" seems anything but well-done. [3 Jan 2005]
    • New York Daily News
  7. The connection of Graceland to real-life events doesn't much matter. It feels promising as television, and several characters besides Warren and Briggs--including a DEA agent played by Serinda Swan, switching sides after “Breakout Kings”--have the potential to make us care about their stories.
  8. Bower starts out seeming just a bit too young and green to command the throne, though he may grow into it as the weeks go along. The rest of the cast play their positions well, from the conniving Morgan to the inscrutable Merlin. And if once in a while things look like "The Young and the Restless," well, some truths are eternal.
  9. So the upstairs and the downstairs people are sorting things out this season, a process that drifts in and out of confusion.
  10. Mitt focuses on a couple of flashpoints: the unsuccessful 2008 primaries against John McCain, the successful 2012 primaries and the 2012 general election. In none of these do we get any “aha, so that’s how he really feels” moments. It’s more a portrait of someone who assesses each situation accurately, good or bad.
  11. The characters, all of whom are terribly likable, speak as if they are reading from Hallmark greeting cards.
  12. The rest of the drama, though, suspends disbelief much more successfully. The acting, by both men and women, is quite nuanced and well-observed. After a few episodes, you feel their pain, and hope that it is eased.
  13. Once you get past its somewhat misleading title, Mark Burnett's new Shark Tank is a well-paced hour that offers entertainment without humiliation.
  14. A very complex metaphysical mystery, the enjoyment of which comes, in no small part, from the surprises that spill out as it slowly unfurls.
  15. We've seen all the parts of this story before, and frankly, we've seen them told better.
  16. William & Kate is designed almost entirely as an opening act to the real wedding, a short guide to the players. It succeeds simply by not giving anyone a single reason to believe W&K won't live happily ever after.
  17. 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.
  18. While it has contemporary music, appliances and vernacular, it has the soul of an old-school sitcom where the issues are basic: boys and girls, grownups and jobs, rogue waves and colorful surfboards.
  19. The show has its tense moments. But it's closer to comfort television than "Hell's Kitchen."
  20. Kudrow must shoulder much of the blame. Her performance - her character - never becomes real, so you spend the time looking at Kudrow acting, rather than watching Valerie suffering.
  21. Clueless, oblivious characters are a foundation of most sitcoms, but this show needs more of a humor base than a wall mural that shows Pawnee's first white settlers massacring the natives.
  22. The cast works well together. They just have to fight some implausible setups and jarring shifts from clever and poignant to sappy and slapstick. ... Even assuming the show can keep the cast sick enough to be in the hospital, but so not sick it just gets sad, it may be hard to sustain this story over a full season.
  23. A competition to find a junior editor for Elle magazine, where Slowey is fashion news editor, differs from a two-hour drama in enough ways so the TV show doesn't have quite the same charm. It's fun. Just not as much.
  24. All three families seem fairly serious, not just like people who want to be on television. So the details of their new lives seem instructive, even if the lesson is “better them than us.”
  25. So many parts of the pilot, though, seem dumbed down or sacrificing character for punch lines, you wonder why things weren't retooled in time for launch.
  26. The comedy dominates so much that the forcefully dramatic situations - when O'Toole's character explodes with a verbal or physical outburst, for example, or when they're put in physical jeopardy - seem woefully out of place, almost like spoofs. And even those don't seem to be taken seriously by the characters, so why should viewers react any differently? [26 Jul 2000]
    • New York Daily News
  27. There's potential here. If the characters can bond into an interesting dysfunctional family, The Finder could be worth finding.
  28. Some scenes are brilliantly and subtly turned, some make you roll your eyes. Some are straight from the Soap Opera 101 playbook.
  29. [It] isn't quite as revolutionary as it suggests, but it's a lively account of some big guys who, if it weren't for a single stray asteroid, might still be here today.
  30. The characters on ABC's new sitcom Happy Endings seem likable and funny. So why, the viewer may ask, does the show give them such a forced and convoluted back-story that it keeps getting in the way of both those qualities?

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