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 4.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Practice: Season 1
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 609
  2. Negative: 0 out of 609
609 tv reviews
  1. There isn’t a lot of drama.
  2. 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.
  3. One of the new season's potentially best sitcoms is born.
  4. 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.
  5. 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.
  6. 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.
  7. As with “Pretty Little Liars,” the viewer knows no more than the characters. And as with “PLL,” it should be fun finding out.
  8. Some viewers won't buy the premise of the Social Security numbers. Its beauty, though, is that you don't have to.
  9. 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.
  10. Its humor, which dominates, isn't funny enough, and its occasional stabs at dramatic scenes aren't serious enough.
  11. Suspense-building requires walking a line, though. If you spend too long getting to the point, the bubble you’ve inflated starts to lose air. That’s close to happening a couple of times, which is too bad, because when we get to the reveals, we’d like to still really care.
  12. It works as legitimate drama, it works as soap trash.
  13. Sunday’s opening of season five proves again that Falco makes this show, primarily by connecting all the passageways between comedy and tragedy.
  14. PBS goes deeper than Smithsonian [The Day the Bomb Dropped], partly because it’s a two-hour show, but also because it raises the thorny isue of whether that first bomb needed to be dropped at all.
  15. Rewardingly stylish.
  16. 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
  17. 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
  18. Through a fast-moving combination of live action and CGI, Sons of Liberty shows how the point of no return became America’s starting point.
  19. "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
  20. Faris does her best with a role that still feels unfinished, and too much of the rest of the cast consists of caricatures.
  21. 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.
  22. Whether the film gets all the nuances right is hard for civilians to say. But round for round, the fight is surprisingly lively.
  23. The whole show just feels cartoonish and, well, silly.
  24. All these characters seem modestly interesting, but none, at least on first acquaintance, feel compelling. Nor are we drawn into their quest.
  25. It's gripping stuff, seamlessly blending the larger tension of the world with the smaller dramas back at 165 Eaton.
  26. A promising mystery thriller with a pair of strong, intriguing characters at the center.
  27. Ballers won’t win the Super Bowl, but it’ll keep you watching.
  28. 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.
  29. By looking less repugnant than the others, it comes off looking almost attractive. [30 Jun 2003]
    • New York Daily News
  30. 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.
  31. Once you accept the quiet rhythms and deliberate pace of The Bronx Is Burning, though, it begins to pay off.
  32. 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.
  33. Complexity is one thing; making the complexity compelling is another, and "Prison Break" fails there.
  34. 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
  35. 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.
  36. Surviving Jack serves up the latest exasperating parent whose outrageous behavior doesn’t add up to a decent sitcom.
  37. The Spoils Before Dying requires some time and in return offers some rewards.
  38. 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.
  39. In theme and execution, in caliber of performance and level of dramatic tension, "Sleeper Cell" is an impressive, relentlessly gripping drama.
  40. It’s worth watching even when it’s not easy.
  41. This handoff is clean.
  42. 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.
  43. It's got a way to go to become a polished program, but made a very solid and affable first impression.
  44. The dialogue can be crisp, sharp and witty, particularly among colleagues in both the White House and at the Globe.
  45. Mainly, underneath the sitcom setups and witty banter, this show moves to the pulse of the ad game. The mystique and power of raw ideas push this story as surely as they push the characters of "Mad Men."
  46. 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
  47. As in the earlier show [NBC's "Best Friends Forever"], both Parham and St. Clair create likable characters we wouldn’t mind following through strange, poignant, absurd, comic and ultimately endearing adventures. But those adventures get diluted here, at least on the back-to-back opening night episodes, by heavy-handed scenes you don’t expect or want in a USA show.
  48. 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.
  49. While the Bible might seem like tricky turf for a TV show, the execution makes it comfortable for all but the most rigid Puritan.
  50. Spies of Warsaw starts off as a complex spy drama and feels like it finishes as a less complex romance drama.
  51. Viewers can get depressed, infuriated or defensive. In the end, Requiem makes no overt political or ideological statement because it doesn’t have to. It’s about madness.
  52. 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.
  53. "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.
  54. As viewers, we're less interested in the destination than the ride, and this one starts out feeling like fun.
  55. Just because you can put something on TV doesn't mean you should. [3 Aug 2005]
    • New York Daily News
  56. Calm, nimble and damn funny, Noah didn’t even break a sweat and seems easily poised to carry on the satire and smarts that turned the Comedy Central talk show into a source of news and entertainment for an entire generation. The Daily Show is in good hands. That’s our moment of zen.
  57. After you've suspended about a 10-year supply of disbelief, Fox's new epic drama Terra Nova turns out to be an okay adventure story.
  58. 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.
  59. If the premise is somewhat forced, it sets up a situation with enough comic potential to sustain Hot in Cleveland indefinitely.
  60. The deadpan goofiness remains fresh enough to keep fans interested.
  61. The antics, though, are standard sitcom - and, refreshingly, many actually are funny.
  62. It's different, daring, and in many ways delightful. [21 Aug 1998, p.115]
    • New York Daily News
  63. Skilled as Applegate, Arnett and Rudolph are at making us laugh, they need dimension.
  64. The good part is that the drama should be fun to watch for us. And for the guy at Pizza Shack, too.
  65. Tremendously likable.
  66. The word "juvenile" doesn't begin to describe "The Sarah Silverman Show." It completely describes it.
  67. The Michael J. Fox Show, which marks his welcome return to a regular network series, isn’t an instant classic. But it does a lot of things right.
  68. 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.
  69. USA promises "characters," and Annie Walker is all of that. She just once in a while maybe needs to go with decaf.
  70. Despite the accordant level of menace, The Librarians never gets too dark. If anything, it sometimes gets too goofy. Still, it’s worth checking out.
  71. If all "South Park" offered were poo-poo jokes and babes spouting profanity, the show would wear thin awfully fast. It doesn't. The reason is that Parker, Stone and their collaborators actually have done something remarkable with their primitive, construction-paper animation: They have created a wholly new, internally consistent fictional world and have peopled it with distinct, interesting characters. [13 Aug 1997]
    • New York Daily News
  72. The problem isn’t the characters, though they can feel a little stilted. The problem is that we don’t believe the whole situation.
  73. 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.
  74. Success is the exception for shows that try to weave mythologies this complex, and Sleepy Hollow falls back early on predictable conventions like having Abbie’s deceased ex-boss leave copious files on mysteries he could never solve.
  75. If something has been missing from your TV screen since "24" went off the air, like an unapologetic, fist-pumping, nonstop action thriller with compelling good guys and loathsome bad guys, Cinemax's new Strike Back needs to be your appointment television for the next 10 weeks.
  76. 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.
  77. Louis-Dreyfus herself tries hard - sometimes too hard - and deserves better.
  78. It relies less on mystery and more on physical action, like a video game-style scene where Miles, Charlie and their small band wipe out what looks like about a hundred bad guys.
  79. 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.
  80. If Olivia can keep her edge, if Rhimes can keep the stories as strong as the soap, and if we start feeling we don't know exactly what to expect, "Scandal" could become a habit worth forming.
  81. It's a crossover series that works, and has the strong potential to lure crossover audiences as well. Expect this "Barbershop" to stay open for quite a few years.
  82. Most of it was funny stuff, and the audience lapped it up, having long since accepted Conan as contemporary media's cuddliest martyr. For those outside the hard core, though, the sands may be running through the hourglass on this drama, from which Conan is the last major character to move on.
  83. Things get tense fast in CBS’ new Hostages, and if it can maintain that tension for 13 weeks, the network has a winner.
  84. This likable and predictable new sitcom about three couples in the same family probably wouldn't get a lot of attention all by itself. But slung in the hammock between "The Middle" and "Modern Family," two established sitcoms about endearingly off-center families, it should snuggle right in.
  85. Pperhaps as a result of that mission, The Sixties often feels like an academic project, something for a modern history class.
  86. At the end of the day, or at least the end of the pilot, we’re left with another quirky family that mostly seems to be heading only for the next laugh line.
  87. It plays as cheap voyeuristic thrills, which isn't necessarily a bad thing, but does keep the show percolating at a somewhat low level.
  88. Even though "The Tudors" adds another jewel to the crown Showtime has been forging of late, this particular jewel isn't all that dazzling.
  89. The rhythms feel off. The cuts don't feel as crisp, the transitions don't feel as sharp. Part of this may stem from the show's deliberate and successful attempt to look L.A. Where the New York edition always had a little grit.
  90. 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.
  91. It’s a half hour you won’t regret spending.
  92. Gunn, a calming and classy fixture on Bravo's "Project Runway," has it--and that's why his new show for the same cable channel works.
  93. Spy dramas sometimes get too enamored of their own twists, subplots and dark details, but this one never becomes impenetrable.
  94. Everyone talks fast, suspecting that if they pause to breathe, someone else will jump in. But it’s not too chaotic, and most of The Approval Matrix comes off as a discussion actual people could really have.
  95. The latest British girlfriends comedy is anything but absolutely fabulous. Sadly, it’s a bit tedious.
  96. Alphas is hardly the alpha show in this supernatural-hero genre, but it's still engaging.
  97. The core characters, including Sookie's best friend Tara (Rutina Wesley), Sookie's brother Jason (Ryan Kwanten) and bartender Sam (Sam Trammell), who has a thing for Sookie, all have interesting features and are well-played. The rest of the locals don't come off so well, mostly having few brains and a big shortage of couth.
  98. The L Word succeeds precisely because it isn't exploitative, and because its sexy scenes are anything but gratuitous. [16 Jan 2004, p.121]
    • New York Daily News
  99. Like many of Showtime's most cherished series, House of Lies can be annoying and entertaining at the same time.
  100. It’s a breezy, amusing half hour with a lead character whose insecurities poke through her confident exterior.

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