New York Daily News' Scores

For 1,305 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Sons of Anarchy: Season 7
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 542
  2. Negative: 0 out of 542
542 tv reviews
  1. It works as legitimate drama, it works as soap trash.
  2. 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.
  3. 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.
  4. Whether you agree or disagree, the film sorts out a complex situation in simple and human terms.
  5. 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
  6. 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.
  7. It's nicely crafted with a slower pace than the average police "procedural," but more than enough character intrigue to compensate.
  8. 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.
  9. 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
  10. The chemistry among cast members holds enormous promise for comedy that's sometimes silly and sometimes sophisticated. [4 Mar 1997]
    • New York Daily News
  11. 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.
  12. Margulies is sufficiently skilled that she finds the parts of Elizabeth Canterbury we can like, and her internal struggle is what makes this more than just the latest lawyer show.
  13. Easy Money has some promise. But it won't be an easy sell.
  14. 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.
  15. 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.
  16. 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
  17. It's an entertaining TV show that easily could translate to a terrific comic book.
  18. What makes for a mixed stewardship of the Roman Catholic Church can also make for lively television.
  19. The journey of mankind on the History channel, while ambitious and informative, at times comes off a little too much like a history lesson.
  20. 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
  21. A playful pastiche of clashing styles.
  22. "Fun" hasn't been a big part of her job description, but she may have found some of it here.
  23. There isn’t a lot of drama.
  24. This show is more entertaining than most unscripted series, but that praise doesn't raise the heat high enough.
  25. Superb performances by Toby Jones as Hitchcock and Sienna Miller as Hedren keep the story alive and moving.
  26. Madam Secretary starts off solidly, with an engaging performance by Téa Leoni as the secretary of state.
  27. 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.
  28. 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.
  29. 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.
  30. One of the new season's potentially best sitcoms is born.
  31. 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.
  32. A half-dozen plots routinely swirl around Copper, banging into each other. Levinson and the cast never let them unravel.
  33. Recount effectively dramatizes that struggle, mixing a true-to-life script with real news footage.
  34. HBO bills Hung as a comedy, but it uses comedy the way it uses sex--to set up darker, more interesting and complex points. It's amazing how many of those are out there.
  35. 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.
  36. 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.
  37. 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.
  38. Maybe the best new sitcom of the fall is one of the first.
  39. 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.
  40. For some reason the series’ use of recent real-life stories seems more problematic this time around, starting with a subplot on the birth of Occupy Wall Street.... [But] The Newsroom still has a lot to recommend it. McAvoy and McHale remain strong characters.
  41. As with “Pretty Little Liars,” the viewer knows no more than the characters. And as with “PLL,” it should be fun finding out.
  42. 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
  43. It's gripping stuff, seamlessly blending the larger tension of the world with the smaller dramas back at 165 Eaton.
  44. 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.
  45. Sister Wives isn't likely to spark mass polygamy in America, but it's the rare reality show that reveals things viewers didn't expect. It even has jokes.
  46. 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.
  47. Its humor, which dominates, isn't funny enough, and its occasional stabs at dramatic scenes aren't serious enough.
  48. To draw out the story by looping it through subplots and minidramas runs the risk of turning it into a fairy-tale soap opera--when what we really want to know is whether the tragic Snow White or the lonely Emma can in the end live happily ever after.
  49. If you're looking for subtle, Prime Suspect will not become your appointment television. On the other hand, if you're looking for an intense police drama that suggests women face brutal obstacles in the police world, Maria Bello's Jane Timoney keeps the pedal to that metal.
  50. Sunday’s opening of season five proves again that Falco makes this show, primarily by connecting all the passageways between comedy and tragedy.
  51. The two-hour pilot is a wonderful show - the best start for a "Star Trek" series in its long and amazing history - and Bakula's instantly likable characterization is no small part of it. [24 Sep 2001]
    • New York Daily News
  52. It’s a breezy show that’s fun without being just silly.
  53. It doesn't have a style. It has lots of them: hip-hop MTV one minute, "NYPD Blue"-style hand-held confrontation the next, with a lot of stutter-step editing, loud soundtrack music and thuggish posturing the next. Because its premise bears such promise and because it boasts at least a trio of strong performers, "Platinum" is a particularly stinging disappointment. [14 Apr 2003]
    • New York Daily News
  54. Don't let all this make the show sound complicated. Based on opening night, it looks like Shameless fun.
  55. 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.
  56. "Carnivale" is so deliberate in its pacing - some would say plodding - it makes "The Wire" look like a breakneck action movie. [12 Sep 2003]
    • New York Daily News
  57. Faris does her best with a role that still feels unfinished, and too much of the rest of the cast consists of caricatures.
  58. On the correct assumption that almost no one watching TV today remembers the original "Defenders" series, CBS has created a new one with more swash, more buckle and results that are modestly entertaining.
  59. As viewers, we're less interested in the destination than the ride, and this one starts out feeling like fun.
  60. Surviving Jack serves up the latest exasperating parent whose outrageous behavior doesn’t add up to a decent sitcom.
  61. Whether the film gets all the nuances right is hard for civilians to say. But round for round, the fight is surprisingly lively.
  62. The dialogue can be crisp, sharp and witty, particularly among colleagues in both the White House and at the Globe.
  63. What matters is how well it's done, and Disney does a lot of things right. It's multicultural. Parents are portrayed as people. The intrapersonal dramas are small enough so viewers will understand them.
  64. By looking less repugnant than the others, it comes off looking almost attractive. [30 Jun 2003]
    • New York Daily News
  65. Complexity is one thing; making the complexity compelling is another, and "Prison Break" fails there.
  66. It's got a way to go to become a polished program, but made a very solid and affable first impression.
  67. Once you accept the quiet rhythms and deliberate pace of The Bronx Is Burning, though, it begins to pay off.
  68. Brooklyn DA feels like a hybrid, both in genre and content.
  69. It's a fine group, and a good start - although parts of the initial exposition are clunky and Sedgwick's Southern accent seems to fade and strengthen at random. But there's a solid core here around which a good series can be built. [13 Jun 2005]
    • New York Daily News
  70. Many of the people we meet in the cast are good guys, which gives Dancing a hopeful tone, even when the odds go the other way. We want the folks who deserve it to win, and so does the show.
  71. He's supposed to be a neurotic slacker who escapes into this cool new world, but even there, he still comes off as a neurotic slacker. You want smack him and tell him to go sit down. And if you did, he probably would.
  72. To put it bluntly, it's more fun to watch some guy pick up a car than to hear him contemplate its impact on his family.
  73. USA's The Dead Zone takes its concept and characters seriously, without any playful subtext or comic relief. So does Hall, who plays his character as David Janssen played "The Fugitive": rarely smiling, always nervous, and only occasionally believed by those around him. There is reason to believe, though, that this Dead Zone may be the real thing.
  74. In theme and execution, in caliber of performance and level of dramatic tension, "Sleeper Cell" is an impressive, relentlessly gripping drama.
  75. Nip/Tuck may sag a little here and there, but for what it is - a goof on medical shows--its scalpel still has an edge.
  76. It’s worth watching even when it’s not easy.
  77. All these characters seem modestly interesting, but none, at least on first acquaintance, feel compelling. Nor are we drawn into their quest.
  78. The whole show just feels cartoonish and, well, silly.
  79. For whatever reason, probably no more complex than plain old first-night jitters, Fallon didn’t bring his A-game to go with his A-list of guests.
  80. Spies of Warsaw starts off as a complex spy drama and feels like it finishes as a less complex romance drama.
  81. The word "juvenile" doesn't begin to describe "The Sarah Silverman Show." It completely describes it.
  82. Just because you can put something on TV doesn't mean you should. [3 Aug 2005]
    • New York Daily News
  83. Some viewers won't buy the premise of the Social Security numbers. Its beauty, though, is that you don't have to.
  84. What we have here is a classic family sitcom, with jokes that come from the quirks of the characters rather than a mandate that there be a sex line every 30 seconds.
  85. If the premise is somewhat forced, it sets up a situation with enough comic potential to sustain Hot in Cleveland indefinitely.
  86. While the Bible might seem like tricky turf for a TV show, the execution makes it comfortable for all but the most rigid Puritan.
  87. Life doesn't squander the talents of its cast. The mysteries are solid, the characters multilayered, and Crews is given a bigger mystery about which to obsess--finding out who framed him.
  88. It's different, daring, and in many ways delightful. [21 Aug 1998, p.115]
    • New York Daily News
  89. Some of the conflicts and characters in Dangeous Minds are diluted. Language, by necessity, is a lot less raw, camera work is unnecessarily gimmicky, and most conflicts are resolved more neatly...However, the TV version's writers (including Diane Frolov and Andrew Schneider of "Northern Exposure") take as much care as did the movie to not resolve everything nicely or neatly. [30 Sept 1996, p.67]
    • New York Daily News
  90. Based on the first episode, the team seems to work about two cases at a time, and while neither of tonight's feels wildly creative--one warns of the downside to an intense religious upbringing, the other catches an elected official in an ethics scandal--both are engagingly told, with humor and little twists.
  91. While the execution isn't perfect and the first episode feels a little cluttered, it has at least two ideas that create interesting drama and could even stimulate a little thought.
  92. "The Knights of Prosperity" has delivered this season where so many new shows have failed: It introduces a serialized story line with characters and a plot that are different and likable enough to warrant a return visit.
  93. It has everything you want from such a show: quirky characters, gifted actors, a captivating central story - and questions that leave you not only wanting more, but hungry for it.
  94. The deadpan goofiness remains fresh enough to keep fans interested.
  95. The cop is a little too snarky, the nurse is a little too cavalier and the 16-year-old doesn't look a day under 21. That said, A&E's new Florida police drama, The Glades, still has some juice.

Top Trailers