New York Daily News' Scores

For 1,461 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 4.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The State Within: Season 1
Lowest review score: 0 How to Get the Guy: Season 1
Score distribution:
  1. Mixed: 0 out of 609
  2. Negative: 0 out of 609
609 tv reviews
  1. 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.
  2. The acting is first-rate. [23 Sep 2002]
    • New York Daily News
  3. While the program as a whole has room to grow, Wilmore's comedy is sharp, solid and filled with keen observations and strong enough to have earned him the distinction of being the only high-profile black voice in late night television.
  4. It remains a show to which the viewer must pay close attention.
  5. 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
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. "Felicity" is a tolerable, even watchable family drama.
  14. 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."
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. As a series, it could be a lot better, but there's no denying the appeal of the two musicians.
  22. Bent feels like a one-night stand where, in the morning, no one minds if you don't stay for breakfast.
  23. Jill and Vanessa aren’t discovering anything that “Real Housewives” watchers didn’t notice many episodes ago. Still, it’s reassuring to know the network that created the beast can also be amused at its underside.
  24. "The State Within" is challengingly cerebral - but at times, it's also almost painfully visceral. Don't miss it.
  25. 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.
  26. 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.
  27. 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
  28. 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.
  29. 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.
  30. 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.
  31. Chiklis is terrific. Too often, though, Vegas plays like a comic book, without much depth to its characters.
  32. 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.
  33. 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.
  34. It’s a breezy show that’s fun without being just silly.
  35. Creator/writer/director Neil LaBute uses a theatrical style, heavy on dialogue. That works out well both for developing the characters and putting comedy into the situation.
  36. "Fun" hasn't been a big part of her job description, but she may have found some of it here.
  37. 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.
  38. It all feels pretty dense and confusing to those outside the sci-fi world.
  39. 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.
  40. At times Babylon feels like it’s paying more attention to comic setups than the drama. At other times it isn’t. It’s not only confusing to viewers, it’s confusing to the cast, whose lines sometimes seem almost cartoonish.
  41. 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.
  42. 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.
  43. 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.
  44. 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.
  45. This version has a brisker pace than the fine French original, though it wouldn’t be called action-packed. With its ominous and dark undertone, call it cerebral sci-fi.
  46. It's a little bit scary and a little bit amusing.
  47. 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.
  48. 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.
  49. So it may develop a cult following, and whether it does or not, FX deserves continuing credit for trying different approaches to traditional TV shows. Too often, though, Wilfred makes us work a little too hard for the payout.
  50. Touching, funny and smart.
  51. Corden slipped easily into the chair vacated last December by Craig Ferguson. His easygoing manner fit well with his low-key banter, built more on everyday conversation than show biz flash.
  52. Linney, a terrific actress, anchors this cast nicely. We like them all, which is critical and helps us past the fact that Linney's wild-child moments break little new ground. Neither does the message The Big C ultimately delivers, which doesn't mean it's a bad one.
  53. Bates Motel remains such a well-acted show that it discourages casual viewing more and more with each episode.
  54. There’s little action in Dates. It’s about language, verbal and nonverbal. When the words are this good, that’s enough.
  55. Like the best TV comedies - from "Seinfeld" to "The Mary Tyler Moore Show," and all the way back to "The Jack Benny Program" - "30 Rock" sparkles not just because its central star gets to shine, but because everyone does.
  56. It remains one of the best.
  57. Sunset Limited requires considerable engagement, an assignment made easier by the superb performances of Jackson and Jones. Their verbal sparring may not be a reason to live, but it's sure a good reason to watch this production.
  58. It feels somehow as if there's a backstory here we don't fully know about. Still, their adventures are instructive and the dangers seem genuine.
  59. Whether you agree or disagree, the film sorts out a complex situation in simple and human terms.
  60. Viewers glimpse the fuller scope of the problem, in most cases, at the same time Alan does, giving Helix a nice sense of ominous building tension. It’s also not too geeky a story, so someone who just likes suspense drama can follow it.
  61. The journey of mankind on the History channel, while ambitious and informative, at times comes off a little too much like a history lesson.
  62. It's reinvigorated. The third season of ABC's "Housewives" begins Sunday night at 9 with an assurance and a knowing playfulness that was missing most of last year. [22 Sep 2006]
    • New York Daily News
  63. Method to the Madness leaves no doubt, in any case, about the appreciation he has inspired in others over the years, and not just the French.
  64. That plot crystallizes through a pair of two-hour episodes, Sunday and Monday nights, and at times it crystallizes slowly.
  65. A playful pastiche of clashing styles.
  66. With strong performances by a cast that includes Alfred Molina, Michael Keaton, Rory Cochrane and Chris O'Donnell, this adaptation of a Robert Ludlum novel reels you right in.
  67. As it's set up here, the comedy part doesn't work if Ben isn't genuinely annoying, and the larger arc doesn't work if he isn't genuinely endearing.
  68. It's nicely crafted with a slower pace than the average police "procedural," but more than enough character intrigue to compensate.
  69. All glamour and glitz and surface. The show is intended as a prime-time soap to appeal to those who watched "Beverly Hills, 90210," "Dawson's Creek" and "Felicity" - and for them, The O.C. ought to connect quickly. [5 Aug 2003, p.66]
    • New York Daily News
  70. Wizard Wars never comes across as a straight magic show, but more about how to assemble the pieces that add up to a magic show.
  71. A half-dozen plots routinely swirl around Copper, banging into each other. Levinson and the cast never let them unravel.
  72. Sheen has no problem grounding the show, and encouraging viewers to laugh at his character. It's Cryer, though, who brings the more delightful offbeat energy to Two and a Half Men. When complaining about his wife's change of heart, he seems genuinely anxious and betrayed - but always manages to inject a flustered comic edge that makes the pain amusing, as well as real. [22 Sept 2003, p.77]
    • New York Daily News
  73. The Event is such a blur of shadowy operatives, dubious motives, cryptic dialogue and mystifying time shifts that by the end, many viewers may be not so much curious as simply confused.
  74. Conan made it subtly clear that the new kid in town will be a little naughtier and that for better or worse, Tonight is now his ride.
  75. In the end, while its outrageous characters are often amusing, their palate of jokes runs thin.
  76. It's an entertaining TV show that easily could translate to a terrific comic book.
  77. A funny, fast-paced and rather refreshing new ABC sitcom that looks at contemporary office life in much the same way as the comic strip "Dilbert."
  78. The problem isn't the source of the plot, rather the fact that its treatment is not dramatic or gripping enough. [27 Sept 2003, p.71]
    • New York Daily News
  79. The first episode leads us into a series of Hitler jokes, which proves once again that even 70 years after the Allies liberated the concentration camps, Hitler jokes are really really hard to make funny.... On the upside, Man Seeking Woman still has promise. It needs to head in that direction.
  80. The show does a good job in tonight's premiere of sorting out the good guys and filling viewers in on the disturbing backstory. In fact, it may do too good a job because there doesn't seem to be a lot of mysteries left.
  81. Superb performances by Toby Jones as Hitchcock and Sienna Miller as Hedren keep the story alive and moving.
  82. The final minutes of the show, when the rejects got to display their disappointment, were the hour's best, but that was only the beginning. [9 Jan 2003, p.91]
    • New York Daily News
  83. Brooklyn DA feels like a hybrid, both in genre and content.
  84. This show is more entertaining than most unscripted series, but that praise doesn't raise the heat high enough.
  85. The story and the chemistry work, but periodically the action feels rushed, as if we all know the drill and we might as well get it over with. Future episodes may correct that, because they'll need less setup work.
  86. Madam Secretary starts off solidly, with an engaging performance by Téa Leoni as the secretary of state.
  87. Easy Money has some promise. But it won't be an easy sell.
  88. What makes for a mixed stewardship of the Roman Catholic Church can also make for lively television.
  89. Maybe the best new sitcom of the fall is one of the first.
  90. In the end, Citizen U.S.A. is heartening because it neither doubts nor ennobles those who have come here and decided to stay. Rather, it suggests that like every other citizen, each now has the freedom to succeed or fail.
  91. The chemistry among cast members holds enormous promise for comedy that's sometimes silly and sometimes sophisticated. [4 Mar 1997]
    • New York Daily News
  92. The warning bell is that since the team begins as caricatures, the show could become a string of situation jokes. There's room for growth, though, as they say, and the creators wisely mixed up the cast.
  93. 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.
  94. Recount effectively dramatizes that struggle, mixing a true-to-life script with real news footage.
  95. Like many sitcoms, 2 Broke Girls stretches a little to set up the premise, but once it gets there we're sold, mainly because the two lead actresses are funny and endearing with great chemistry.
  96. Don't let all this make the show sound complicated. Based on opening night, it looks like Shameless fun.
  97. The show is asking viewers, then, to invest some time and not expect a clean resolution of some black-and-white drama each week. That's a gamble and a risk. Revenge seems confident it can be taken and won.
  98. They also don’t know what’s happening back East, so we don’t start with any crossovers or even cross-references. There’s just the uneasy sense that something is wrong, which for TV drama purposes means something is right.
  99. It could be problematic that we know almost no one here will live happily ever after. But while it could head down several wrong highways, it could also give us a nice creepy ride.
  100. By the standards of Lifetime ripped-from-the-headlines movies, almost all of which aim to reduce viewers to a gasp of horror at some despicable villain, Romeo Killer plays like a documentary.

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