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 Mad Men: Season 5
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 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.
  2. Once you get past its somewhat misleading title, Mark Burnett's new Shark Tank is a well-paced hour that offers entertainment without humiliation.
  3. A very complex metaphysical mystery, the enjoyment of which comes, in no small part, from the surprises that spill out as it slowly unfurls.
  4. We've seen all the parts of this story before, and frankly, we've seen them told better.
  5. 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.
  6. 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.
  7. 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.
  8. The show has its tense moments. But it's closer to comfort television than "Hell's Kitchen."
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.”
  14. 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.
  15. 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
  16. There's potential here. If the characters can bond into an interesting dysfunctional family, The Finder could be worth finding.
  17. Some scenes are brilliantly and subtly turned, some make you roll your eyes. Some are straight from the Soap Opera 101 playbook.
  18. [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.
  19. 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?
  20. If you’re a sci-fi fan for whom this stuff can never be too complex, have at it. If you’re not, wait an hour and watch “Revolution.”
  21. They both confess to failings, Tatum more than Ryan, and they seem genuinely interested in making things work. Whether they can will be the drama for the next seven episodes, and the only safe bet is that with two people as self-focused as these guys, the ride won't be smooth.
  22. Much of the real beauty of Power lies in the details, conversational and visual.
  23. With Minnie Driver and Morena Baccarin as two of Jacob’s wives, and Debra Winger as Dinah’s blunt-speaking grandmother, the story is engaging both as untold Biblical fable and modern-day television.
  24. Montgomery's last gig on CBS, "Without a Trace," lasted seven years. Unforgettable has a ways to go, but it's got a lot of the right stuff.
  25. Tonight's new Fox courtroom drama series, "Justice," has plenty of [gimmicks]. What it doesn't have, though, is a persuasive reason to watch.
  26. The dialogue is crisp, no scene lasts too long, and despite the large cast, we can follow what's happening. What's not clear yet is whether this show has its own style and vision.
  27. Deliverance Creek is what the TV biz calls a “backdoor pilot,” meaning that its real goal is for the story to continue as a weekly series. If it does, let’s hope it gets less murky.
  28. In a perfect world, Dollhouse would be a good show. It's not.
  29. Catfish has value as a cautionary tale, and documentation of one way the Internet has affected lives. That makes it sociology, not entertainment.
  30. It's a brilliant sitcom premise in this sense: The characters will all have backstories. The only tiny caution is that many of those stories won't necessarily be funny.

Top Trailers