New York Daily News' Scores

For 1,317 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Boardwalk Empire: Season 1
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 548
  2. Negative: 0 out of 548
548 tv reviews
  1. The dramas, rivalries, kindnesses and treacheries begin almost at once, and as in all the best PBS series, they are well-drawn.
  2. Charlotte Rampling makes Dr. Evelyn Vogel troubling and vaguely creepy, which probably isn’t what Dexter needs. She also opens up a dialogue on whether a psychopath like Dexter might be part of nature’s deliberate design, the human version of alpha predators. So we’ve got the philosophical and we’ve got the visceral as we count down to the last hours.
  3. Brooklyn Nine-Nine is the funniest and most satisfying new broadcast sitcom of the season.
  4. We're going to need a few episodes, though, to see whether the awkwardness will disappear, or if the show wants it to.
  5. The team behind this series--creator Tom Kapinos from "Dawson's Creek," executive producer Scott Winant from "My So-Called Life" and "thirtysomething," and Duchovny himself--makes it easier for Duchovny by surrounding him with sparkling female characters and talent.
  6. The Miracle Day mystery itself feels, at least at first, hopelessly tangled. Viewers may be willing to give it some time, though, because the action provides an entertaining ride.
  7. While viewers may be curious to know whether they do, the journey itself may not be as interesting to us as it is to #1096’s progeny.
  8. Things are a little perkier for the characters at the start of this season than when we last left them.
  9. George's action scenes are solid. There just aren't enough of them, and Hunted isn't comprehensible enough for the cerebral part to carry as much of the show as it has to.
  10. If you enjoy the challenge of doing complex jigsaw puzzles in low light, Penny Dreadful will be your cup of tea. Just make sure it really is tea in the cup.
  11. 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?
  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. Top Model runs smoothly enough so it doesn't need two hours, which means we spend too much time watching the contestants look at pictures of Tyra Banks on the wall of the house where they're staying.
  14. The reason to watch 24: Live Another Day isn’t for ideology. It’s to get caught up in a fast-paced, high-powered adventure played out by people we care about.
  15. The result is a picture that feels true. It's very likely incomplete because few people tell everything to a camera, but the insecurities and the growing confidence are conveyed with language and an attitude that seem fairly natural.
  16. A lot less dreadful, and more imaginative, than it sounds. ... Oddly, and disappointingly, the runway portion of the episode is rushed - the dresses don't get enough screen time to register fully. [1 Dec 2004]
    • New York Daily News
  17. In Treatment feels neither soapy nor formulaic, because of the intensity with which it's presented.
  18. The problem is people; the characters are interesting, but that's pretty much as far as it goes. Whether they live, die, are brutalized, treated fairly or unfairly it all comes at you in such a rush that you don't know what to make of it, if anything...That's a serious flaw, although there are signs in the first two episodes that the problem could be remedied as the series proceeds. If it is and I'm intrigued enough to keep watching my like could conceivably turn to love. [10 July 1997, p.106]
    • New York Daily News
  19. The crispest, wittiest and most delightful new sitcom of the season making as self-assured, clever and distinctive a debut as "Frasier" did last season. [20 Mar 1995]
    • New York Daily News
  20. This moves the show closer to the "Dallas" model...It makes our lives simpler, though it does pressure the writers to come up with ever-more appalling behavior.
  21. Their dance of love and rejection, of giddiness and bitterness, is a warped waltz, and Kingsley and Bening clearly relish every step.
  22. The Middle feels like a sitcom version of standup comedy. "Three guys and two girls walk into Indiana..."It's not offensive. Just superfluous.
  23. Even if you’ve never wondered how a movie comes about, The Chair makes the process feel almost cinematic.
  24. Karen Sisco, from the very first frame, is a stunner - and a keeper.
  25. Nip/Tuck does not grab you like "The Shield," though, and does not ingratiate you to its quirky tone, like the network's comedy "Lucky." It's more artifice than art, and in everything from the performances to the dramatic contrivances, you can see the strain.
  26. [Parker] may be the best actress in all of television. Certainly, she's the most natural, and one of the most irresistibly lovable. [4 Aug 2005]
    • New York Daily News
  27. If these all sound like the same kinds of dramas that would go on in any American community anywhere, they are. That's the point.
  28. We see his standup act and we laugh. We watch this whole package and the laughs are sporadic. Someday he may find the scripted sitcom that captures his humor. Not this time.
  29. [Holder and Linden are] fascinating to watch as they work around Holder’s lazy partner and strong new characters who include a brilliant psychopath about to be executed.
  30. It’s all very evocative, creating a perfect mood for the complete “Basement Tapes” sessions that, surprise surprise, have just been released.
  31. The adventure is good, the characters are better than good, and the playful, often insulting repartee is someting you might hear from college buddies on holiday in Cabo. These Musketeers are worth a bite.
  32. The only thing that could be disappointing about it is if TV Land doesn't immediately commit to make more.
  33. it's still feeling like a pasted-together assortment of ideas and plot lines from productions past.
  34. 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.
  35. In weeks ahead, the show will likely work out a balance between the jerk and the laughs. Then it can also start exploring the other characters, all of whom have the potential to fuel amusing ongoing subplots.
  36. It all adds up to a promising, surprisingly lively and fast-paced drama that humanizes those early computer geeks.
  37. It’s a good primer, because PBS does structured history well. It just feels more academic than slam-bang.
  38. If you enjoy following complex machinations, however, and enjoy watching smart TV characters try to figure them out, Rubicon is your ticket.
  39. Over six episodes, almost no cliche of TV epics is left unlampooned. In the end, ironically, Spoils of Babylon creates some excess of its own.
  40. Human Target lays a good premise and an intriguing character over a fairly stock detective story. It's not the worst way to spend an hour.
  41. It's a feel-good story, and what makes it more satisfying is that in contrast to so many reality shows, the people here feel genuine, with no sense they're performing for the camera. This one's a contender.
  42. It's so heartwarming it would make a penguin take off his tuxedo in the middle of an Antarctic winter.
  43. Even by the notoriously uneven standards of sitcoms, The Mindy Project takes precipitous swings from fresh and clever insights to the most predictable "Oh, girl, don't go there" setups.
  44. What Southland has, already, is its own swagger, a get-outta-my-way style of moving and talking that says it's going for the raw edges we see on cable shows like "Breaking Bad." Southland pulls it off, too. If Thursday night's premiere episode is an indication how it plans to roll, it's a keeper.
  45. The new Mildred isn't perfect. Sometimes it has too much time on its hands, holding scenes just because it can. But watching it is time well-spent, because it reminds us that not everyone gets over the rainbow to the place where the dreams you dare to dream really do come true.
  46. I can't remember the last time I laughed so quickly and loudly at a new TV series.
  47. Tim Daly is miscast as Richard Kimble in this new CBS remake of the classic '60s series. It's worth seeing once, though, just to see the effort. [6 Oct 2000, p.150]
    • New York Daily News
  48. It's all charming, with the crackle of Kelley at his best. [1 Oct 2004]
    • New York Daily News
  49. Though the overall tone is light, there's enough darkness in "The Riches," and enough depth in the performances, to make you care about these people - even when you don't totally buy the premise.
  50. Gettysburg aims for a mix of entertainment and information. It's not a bull's-eye, but it's a decent shot.
  51. Street fighting and strategic hiding alike seem to take place in deep shadows, making some of the action difficult to follow. More like impossible, really, for anyone not fully familiar with season one.
  52. Life Unexpected is TV pleasure unexpected.
  53. To its credit, "Soul Food" doesn't stop to explain everything to us. The decision to let viewers pick things up as the show proceeds keeps it from getting bogged down in obvious, clumsy, drama-killing exposition. The result is truer and more natural dialogue, better pacing, events that unfold slowly to engage viewers more completely, and characters whose personalities are revealed by what they do and say in the context of their immediate situations. [27 Jun 2000]
    • New York Daily News
  54. The format is unusual, and the ending of the premiere nicely surprising - but the element that pushes this show into the potential hit category is Neil Patrick Harris.
    • New York Daily News
  55. At some point, the gang on It's Always Sunny in Philadelphia will no longer be able to top itself, no longer do or say things that are even more wrong than the last thing they said or did. It hasn't happened yet.
  56. 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.
  57. It knows exactly what it wants and needs its new hybrid product to be. The hockey fights video of teen romance drama.
  58. 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.
  59. The acting is first-rate. [23 Sep 2002]
    • New York Daily News
  60. It remains a show to which the viewer must pay close attention.
  61. When it comes to her new CBS sitcom premiering tonight, though, [Middler is] the only element jolting the show out of disastrously ho-hum status. [11 Oct 2000, p.96]
    • New York Daily News
  62. Once TNT's new Leverage scrambles to its feet, it becomes an adept, fast-moving adventure yarn built on the familiar but serviceable premise that justice sometimes isn't best served through legitimate channels.
  63. Heeding one of the elementary vampire show lessons, Chloe King sets all this against a backdrop of clever teenage banter and the awesomeness of teenage romance.
  64. For those in the middle, or historical scholars, this sit-down doesn't offer much that Bush hasn't said before. The value here is that it's all in one place.
  65. After each of the first two hours of "Kidnapped," you're eager to learn what happens next. In any TV series, that's a good sign. In a serialized drama, it's crucial - and "Kidnapped" makes it look easy.
  66. Those "Huh?" moments, combined with the general creepiness of religious cults, makes Big Love uncomfortable at times. But for continuous action and a multitude of subplots with a minimum of bad language, it won't disappoint.
  67. A complex and well-built drama that leaves the viewer wondering if there's enough humanity here to make the hard-boiled stories worth following.
  68. 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.
  69. "Felicity" is a tolerable, even watchable family drama.
  70. The acting, led by Rhys Meyers, is solid. The costumes and production are good and the dialogue smooth, though one wonders if clergy in the 16th century really used the word "newfangled."
  71. Creator Kurt Sutter has found fewer openings to lighten the show as the story has darkened, and that continues to be the case. Still, we want to know what’s going to happen, even if the odds of anything good are about the same as the odds of the show ever winning the Emmys it deserves.
  72. Ethel comes off as a lovely family heirloom, something future generations of Kennedys can cherish. For the rest of us, it's a little less compelling.
  73. ABC's promise, a bold one, is "A New Beginning." That may be overstating what we see tonight, but at least we do get a brand-new guy for Sandra Oh's Cristina Yang to kiss. That's a good start. But as with any veteran show, some of the old mix-and-match gets redundant.
  74. Viewers willing to put in the work tonight could be rewarded with a complex, nicely turned drama. Those less interested can wait a week, when the 10 p.m. options will expand to include Jay Leno telling jokes. No scorecard needed there.
  75. The laughs are here, some a little on the cheap side, but no more often than cheap laughs pop up in real life. Otherwise, by early indications, Pants makes us care about its characters.
  76. It doesn’t offer enough fun to balance out the multiple improbabilities in its storyline, the constant time-shifts, the hard-to-follow scenes in the dark or what we’re expected to accept about the legal and academic worlds.
  77. As a series, it could be a lot better, but there's no denying the appeal of the two musicians.
  78. Bent feels like a one-night stand where, in the morning, no one minds if you don't stay for breakfast.
  79. "The State Within" is challengingly cerebral - but at times, it's also almost painfully visceral. Don't miss it.
  80. There's soap here, and the liberated-woman part sometimes feels like a reach. But the show is fun, it makes flying look like fun, and yes, that line of stewardesses does look good enough to stop an airport.
  81. Like most of the best cable shows, Murder in the First strips the production and the cast down to the essentials, then executes them well.
  82. The action moves quickly, from one incident to the next, and the whole ends up a little more than the sum of its parts. "Reno 911!" may not be truly arresting television, but it sure looks like it, and is fun to watch. [23 Jul 2003]
    • New York Daily News
  83. While the move to New York opens new story lines, the first episode doesn't feel like a city show. It has a sprinkling of exteriors, but it doesn't feel as if it's really happening here yet. With a little time, though, Nancy can make just about anything work.
  84. There's an extent to which watching ad development becomes like watching someone write a song or a book. Unless you're in the game yourself, the result is the only part you really care about.
  85. The show clearly plans to unveil the science fiction slowly, in some cases letting us come to certain realizations at the same time as the characters. This will rule out some casual viewers, because Extant is a show to which you must pay attention/--a task which, happily, the writing and acting make rather pleasant.
  86. Chiklis is terrific. Too often, though, Vegas plays like a comic book, without much depth to its characters.
  87. The action will hold your attention, though Moby Dick is really more a drama of character and flaws and faith. At times, in fact, it lapses into melodrama.
  88. It has a sprawling cast, but even before the pilot is over, because of the clever way it's written, directed and acted, you'll know, and like, every single character.
  89. It’s a breezy show that’s fun without being just silly.
  90. "Fun" hasn't been a big part of her job description, but she may have found some of it here.
  91. It has good characters and plenty of action. It keeps its science fiction accessible, not abstract. Maybe best of all, it has a great sense of humor.
  92. It all feels pretty dense and confusing to those outside the sci-fi world.
  93. Mostly, though, all the evidence together doesn't add up to an answer. Whatever went wrong with Aunt Diane that day, we don't know and may never know.
  94. United States of Tara, which features Toni Collette as the title character and whose executive producers include Steven Spielberg, takes a riskier tack, giving the story a wide vein of comedy. In many ways, they pull it off.
  95. It's still a reasonably funny show, thanks to first-rate performances from Mary-Louise Parker as Nancy Botwin, a woman who deals drugs, and Elizabeth Perkins as Celia Hodes, a woman who uses them. [But] It's getting harder to maintain a sharp seriocomic edge when Botwin keeps slipping further into a world where there just aren't a lot of inherent laughs.
  96. Vice tries to go where other news, documentary and magazine shows do not. That’s okay, though it does at times overstate its pioneering prowess.
  97. Unlike shows that rely on flamboyant judges for much of their color, Top Chef has mostly risen and fallen on the personality and skills of the contestants. So it's off to a good start this time around.
  98. It's a little bit scary and a little bit amusing.
  99. This requires commitment, it requires paying attention and it has few cartoonish interludes to give the audience a breather. It also reminds us the value and satisfaction we can find in a complex production executed well.
  100. You either like Beavis and Butt-Head or, if you're like most of the world, you don't. And they don't care. If you do, it will be good news that they are back and better news that they've lost nothing off their fastball.

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