New York Daily News' Scores

For 1,394 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 24: Season 6
Lowest review score: 0 The Cougar: Season 1
Score distribution:
  1. Mixed: 0 out of 577
  2. Negative: 0 out of 577
577 tv reviews
  1. They’re wry and smart about each other and sometimes themselves. Everything also comes out funnier because it’s refreshingly underplayed.
  2. As You Like It is effortlessly entertaining from start to finish.
  3. Lots of fun. It's the TV equivalent of a good summer read light, unpredictable and highly entertaining.
  4. It's now even easier to get so caught up in the dramas that you can forget this show is really funny.
  5. Some of it is moderately profane. Some pushes traditional boundaries of taste, though in today's comedy world these guys aren't even close to the edge.
  6. Viewers who don't regularly contemplate alternative-reality issues probably should tape the show as well as watch it, because the non-expert may have to watch it twice just to figure out what's going on, or even to understand what parts we don't understand.
  7. Fortunately, someone finally grabs hold of the wheel and steers it back to where it belongs, as one of the great character dramas of contemporary television.
    • 74 Metascore
    • 40 Critic Score
    It's hard to imagine anyone watching Sunday night's plodding and pretentious pilot and coming back for more. [1 June 2001, p.112]
    • New York Daily News
  8. [Genealogy] may not seem like a particularly robust thread for an eight-part series, but O’Dowd, Guest and a wonderful cast of deadpan actors and improv experts spin it into a tapestry of cheery laughter.
  9. Kelley does two things better than anyone else writing courtroom dramas on television. He exposes and unveils legal tactics in a detailed and inventive fashion, and he does so while creating and sustaining strong characterizations. [4 Mar 1997]
    • New York Daily News
  10. In contrast to Scorsese's other work, like his Bob Dylan documentary and "The Last Waltz," George Harrison feels like it doesn't get far below the surface.
  11. Chuck starts the second season a little more confident, a little funnier. That's the right direction to be moving in.
  12. Liv is funny as well as charming, and the no-frills CW production keeps the focus on the characters and the stories. iZombie is dead-on.
  13. The pilot, which obviously had a big budget, looks almost as sleek as a movie. Creator Joss Whedon promises the show will work hard to stay on that level. It will live or die, however, on whether we want to keep watching its characters. Right up front, the answer is we do.
  14. If the dramas are exaggerated, Jenna makes the trauma feel legitimate, and her narration gives everything a knowing undertone of humor and self-awareness that keeps the most uncomfortable moments from being painful.
  15. The Blacklist won’t be the most cerebral show on television. It’s a fast-paced mystery that’s just plain entertaining.
  16. 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.
  17. [A] delightful animated hour.
  18. This new documentary on Vogue magazine makes the road to trendy clothing images sound more like a midnight slog through a gator-infested swamp.
  19. The shocker is that this third variation on the formula, made for American TV, is the best yet. [26 Jan 2004]
    • New York Daily News
  20. When you get a headache just trying to follow a show's setup, that's not a good sign. When a show's twists and turns make it hard to concentrate on what seems to be a terrific performance from the splendid Andre Braugher, that's even worse.
  21. At blending comedy and drama and presenting freshly drawn characters, though, Hotel Babylon has a lot to learn from the likes of "Desperate Housewives" and "Grey's Anatomy." As a hotel, and as a TV series, put it at less than three stars.
  22. Like the Navy, Carrier is perfect for some and probably isn't for everyone.
  23. Fishburne, however, has done some terrific acting, and Langston is a character who's strong enough (though a nontraditional one for police shows) to firmly take Grissom's place at the table. Just in a different seat.
  24. The only problem here is that once in a while the producers and cast get so enthusiastic about their production numbers, their words become almost unintelligible.
  25. None of this is really new. It's still presented here in a way that provides a visceral appreciation for what's involved in extracting fuel from mountains.
  26. Fans will find much to enjoy here. At too many points, however, these first three episodes suggest that rekindling Upstairs Downstairs is not quite like riding a bicycle.
  27. Even more so than last season, we see an awful lot of Christian's bare backside. But the best scenes are when we see him naked emotionally, whether with his psychiatrist or with best friend Sean...This year, that's the core of Nip/Tuck, and it starts the season dynamically.
  28. She doesn’t explode off the screen. She does make you laugh.
  29. With impressive clips and first-rate commentators like Hamill, Jonathan Schwartz, Terry Teachout and John Lahr, Gibney has explained why, like him or not, Sinatra mattered so much.
  30. Chuck sounds like a regrettably derivative idea - a remake of "Jake 2.0." But it's not. Chuck is a blast.
  31. True Blood also sometimes seems to have a cast of thousands, despite being set in a small town, so all sorts of subplots have been simmering. The show evolves, as it has before, by starting the new season with a few more. It's a little wearing sometimes, to be honest, though it has enough narrative strength to keep hard-core fans happy.
  32. Without a grounding in vampire lore, many viewers won't get a lot of the nuances, including the humor, in True Blood. So as good as Paquin and company play it, this is another quality pay-cable show that does have a secret handshake.
  33. Happily, viewers have less of a challenge in picking up the somewhat complex story line that continues from the "Terminator" movies. Newcomers won't be any more confused than they are by any time-travel adventure.
  34. It makes for lively drama, and, given what was at stake for religion and royalty, its historical significance remains legitimate. It just gets hard to watch sometimes, because even though most drama is fueled by its villains, The Tudors needs a few more characters we could actually like.
  35. Sons is on track to stand among the best TV shows of our current golden age, and we have two more seasons to watch it get there.
  36. The FX series begins its second year with assurance, inventiveness and more than a little boldness.
  37. It's worth the effort to figure out what this offbeat cast of characters is up to.
  38. It does fine when it sticks to the music and the basic story, then stutter-steps a little when it starts to suggest that, say, the Eagles defined a memorable era.
  39. Episodes has funny moments. It just seems primarily designed to amuse the TV industry.
  40. The biggest yet most easily adjusted problem is that of tone. In many scenes, Arli$$ hits everything just right; a scene in next week's episode, with Arliss conducting a high-pressure negotiation with the owner of a pro basketball team, is Wuhl and Arli$$ at their best...In other scenes, though, the laughs are hit too broadly, and even the soundtrack and editing punch the punch lines much too aggressively. "The Larry Sanders Show" knows to let the laughter find its own level; in time, I hope, Arli$$ will also. [9 Aug 1996, p.115]
    • New York Daily News
  41. As the Loud family fractures and then reunites to fight back against their critics, Cinema Verite settles into melodrama that Lane's solid performance can only partly hold together.
  42. It takes a story whose outline we know and uses backstage access to turn it into a well-paced drama.
  43. While there are times when it’s no easier to watch, the certainty of the end seems to give the show more focus.
  44. Sherlock Holmes may hail from two centuries ago, but Elementary, this latest incarnation of the old chap, produces the the season's best new broadcast drama.
  45. The show raises questions, and fans of the paranormal will find they're kept open in reasonably interesting ways. The problem is that time-travel shows require a level of attention casual TV viewers don't always want to invest.
  46. Based on Sunday's opener, Breaking Bad falls around the middle of the pack in the new wave of cable dramas. It's no "Mad Men."
  47. Murder One is dead on arrival...The first two episodes this year fail to generate any real interest in who's guilty or innocent. And if that's the case now, the final verdict on this series will be swift and just...If we don't care whodunit, why should wewatchit?
  48. It's as quirky, original and funny a comedy as "Universe."
  49. Like the Oscars themselves at their best, it’s a celebration of the movies.
  50. Baldwin and Fey are entertaining without wearing the viewer out, the cast blends together well, and the way the show is structured--often feeling like a series of sketches--has produced some brilliant TV. Thursday night, however, feels like a semi-private joke.
  51. The Flash forms a decent complement to “Arrow,” from which it has been spun off. If it doesn’t sparkle, it also doesn’t stumble.
  52. The new elements and mostly the performances make it worth staying around to see what other secrets lurk within.
  53. By shrewd editing and maybe a little luck, the contestants here almost immediately give off the same sense of camaraderie as the "Glee" cast in its warmer, more sentimental moments, like when they're in a competition and realizing that better individual efforts only enhance the whole.
  54. Arrow turns out to be a lively show, probably better than hard-core "Green Arrow" fans expected. That's a good start.
  55. HBO’S new miniseries Parade’s End won’t stop the “Downton Abbey” DTs. But it can soothe the pain with wonderful visuals and superb performances by Benedict Cumberbatch, Rebecca Hall and Adelaide Clemens.
  56. 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.
  57. So they mirror the plight of way too many Americans today, and while that isn't good news for the unemployed, it does give this Apprentice a bit more edge.
  58. 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.
  59. Individually, they [characters] remain fun, even in a preachy scene where Glee members forget the Golden Rule. But all the vignettes and moments need a show around which to revolve. Glee needs the New Rachel.
  60. It's still, for the most part, the exact same show, which is a relief: The fun remains watching a pressure-cooker gathering of a bunch of the alleged "best and brightest," and seeing just how quickly they can act with astounding stupidity. [9 Sep 2004]
    • New York Daily News
  61. 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
  62. There’s plenty of action to go with snappy grownup dialogue, and Peggy is the kind of dame you won’t be able to resist watching.
  63. CBS' newest cop show has ambition and potential. It just needs a few sparks to ignite.
  64. Powerful.
  65. It’s period drama, unfolding at a period pace. It’s Starz, so it’s got some skin. Whether you get hooked probably depends on how you like Claire. It’s hard not to.
    • 73 Metascore
    • 100 Critic Score
    Shrek the Halls is pure delight.
  66. Dunham shows us why Hilary Knight doesn’t feel quite content, despite what he has done. Drawing Eloise clearly didn’t mean embracing her view of the world.
  67. "Masters of Horror," like any anthology, can be judged only after many installments, but it's off to a tantalizingly creepy start.
  68. One of the new season's best and most unusual series, with a shot at true excellence within its reach. [8 Sep 1997]
    • New York Daily News
  69. So where "Dallas" was happy if we were appalled at almost every character, Lone Star depends on us coming to like most of them, including Bob. The problem is that he's not a guy who got drunk one night and wrecked someone's car on a joyride. He has spent his life stealing from people who thought he was their friend.
  70. A lot of viewers may say, "I can't watch this." It will reward those who do.
  71. Much remains solid at the heart of rich Downton drama, and Fellowes has certainly shown in the past that he can bring it all back home.
  72. A dense stew of contestants, rules and requirements. ... Some viewers may be content and even entertained by this dramatically photographed jumble of elements, but I found tonight's installment confusing to the point of being off-putting. [5 Sep 2001]
    • New York Daily News
  73. It's too easy, too much like a series of safe sketches that play to all the stereotypes everyone in politics claims describe the other side.
  74. In the end, yes, of course, everyone loves each other. But by the time we get there, the only Swedish word that’s likely to remain lodged in our mind is “meatballs.”
  75. It’s all done in a tone of subtly absurdist humor, which is fine but wearing. While explanations of international marketability and aftermarket products may fascinate Hollywood, they soon become white noise.
  76. High School Musical 2 is an inevitable, unstoppable juggernaut--so be grateful it's as good as it is.
  77. This gentle 42-minute look at the life of Georgia Holt is pleasant, sentimental and sweet.
  78. Hard Knock Life just isn’t all that interesting.
  79. Forte himself isn't bad, it should be added. But like the human race when it seems to be down to a single person, the show doesn't feel like it has much of a future.
  80. The show itself, however, does much of its best work in the shadows, where nothing is that clear.
  81. "Futurama," like "The Simpsons," is a multi-layered, full-family treat: silly and goofy-looking enough to hook the kids, and subtle and sarcastic enough to charm their parents. [26 Mar 1999]
    • New York Daily News
  82. It's still lively, still fun and still has the right touch of snap in the dialogue. But at times it's working a little too hard, and maybe requiring the viewer to work too hard as well.
  83. The show has so much visual scope it’s easy to feel overwhelmed.
  84. Ramsey is just right for the role and Goldberg is equally good. Several other characters have promise. Even with all that second-hand smoke, Hindsight should show us a good time.
  85. 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.
  86. Arrested Development often feels like an interwoven series of droll sketch comedies, which means viewers can walk in at almost any time and enjoy the gags.
  87. By those criteria [action drama, airs of vague mystery and psychological setups that upset the characters’ equilibrium], Under the Dome hits its marks. It’s not profound and it may take a while to reach terrifying, but as a campfire story, a fresh batch of characters in a time-tested tale, sure, why not?
  88. The Strain dramatizes the book series of the same name and creates a creepy, ominous mood that does it full justice.
  89. The opening episode of his new A&E reality show almost physically painful to watch. The good news is that if the viewer sticks it out, as Danza did, things will get better as the weeks roll along. They never get perfect. But he will eventually find his footing and win some props.
  90. "Big Love" sounds like a high-concept, comedic, intentionally sensational enterprise. Parts of "Big Love" are sensational, all right. But only in the best sense of the word.
  91. A potentially compelling sister series for "Lost."
  92. "The Boondocks," with all its knowingly controversial observations and language, is a sort of animated equivalent of "All in the Family." It'll make you think, and maybe even wince - but at the same time, it makes you smile.
  93. So we have solid setups here for tales of love, redemption, friendship and the same championship dreams that made Rocky an American icon.
  94. To be as much fun as it strives to be, Warehouse 13 can't be just a cop show with a gimmick. It needs to make the gimmick interesting and fun. Season one was promising and season two seems to be staying on track.
  95. This latest production of the Dickens classic, solid but not spectacular, adds a few contemporary touches, including some rather modern-sounding background music and expressions like "go bonkers."
  96. In general, we like his character, and Reese's. They have a new boss named Kevin Tidwell (Donal Logue), who doesn't start off all good or all bad. Neither does the show. But if it can maintain this level of quality, it's got a shot.
  97. 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.
  98. After watching six episodes, I'm still not sold on the overall worth of this ambitious period drama.

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