New York Magazine (Vulture)'s Scores

For 694 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 The Missing: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 401
  2. Negative: 0 out of 401
401 tv reviews
  1. The Defenders is a pretty grim slog for the most part, enlivened mainly by Jessica’s hard-bitten one-liners, “surprise” appearances by major characters from Marvel’s other Netflix shows, and a couple of lively fight scenes (though not the opening bout, which is so darkly lit and chaotically edited as to be barely comprehensible).
  2. All of the performances in the show are great, which is helpful since the writing occasionally slips into predictable rhythms.
  3. It draws in you in with the novelty of its approach and keeps you hooked even though what’s happening onscreen is, dramatically and aesthetically speaking, not much deeper or better-made than a Cannon film starring a third-stringer like Michael Dudikoff. But it is intriguing, even if it doesn’t quite justify its modest six-episode run.
  4. Wet Hot American Summer: Ten Years Later is fun precisely because it seems to be flying by the seat of its early-’90s jeans, feeling free to do whatever it wants, any old time.
  5. The Sinner proceeds according to its own internal logic, and while I would quibble with the presentation of one or two bits of information in the first couple of episodes, there are no moments that feel egregiously contrived or unfair to the audience.
  6. Van Der Beek’s performance is definitely the draw in What Would Diplo Do?, which, at least in the first two episodes, is driven by sitcom-ish shenanigans.
  7. The series is shockingly funny, even when it goes into dark/disturbing mode, but moments like these confirmed that there was more going on than a bawdy, violent, nihilistically hilarious riff on science-fiction clichés and scientific principles, built around a character who’s like the Doctor reimagined by Armando Iannucci. ... Rick and Morty has always been one of wildest shows on TV. It’s time to admit that it’s also one of the best.
  8. It’s ultimately too restrained and conventional to qualify as a must-see.
  9. It’s refreshing to watch a story hit all its marks without steering into any unnecessary tangents, and a relief to feel no pressure to catch every episode, since the plot resets every week.
  10. Barriers and boundaries are established and only partially torn down in this laudatory but nevertheless moving film about one of the most famous and overanalyzed women to ever breathe oxygen.
  11. The risk in this kind of show is that viewers will complain that “nothing happens,” but that never feels like the case here because Rae and her co-stars shape every scene into a perfectly formed bit of social interaction, built around a core of conflict, but with fascinating bits of business happening in the margins.
  12. The series--created by Bill Dubuque, who wrote the films The Accountant and The Judge--is often still compelling to watch, especially for those who consider “average guy goes gangster” one of their favorite TV subgenres. That’s thanks in large part to the layered performances from its cast, especially its two leads, Bateman, who also directed four of the episodes, and Laura Linney, who plays Wendy, Marty’s not entirely innocent wife.
  13. After watching the first four episodes, the protagonists still seem defined more by what they do or possess than by their actual personalities, which is a problem. Another problem for a show that leans more toward comedy than drama: Loaded often strains to get laughs, although those do come a bit more easily as the episodes progress.
  14. Once an engrossing but problematic show that alternately decried brutality and wallowed in it, that simultaneously valorized and exploited its women, Game of Thrones has become more empathetic, complex, and progressive in its final leg (though its racial politics remain iffy).
  15. There isn’t a single memorable performance anywhere in Salvation, although, to be fair to the cast, with a script this perfunctory, escaping with one’s dignity intact is job no. 1 anyway. There is no direction to speak of, just shots of people saying lines, all cut together as chaotically as possible.
  16. The palpable weight of the past and nostalgia is a theme to which I, and probably many other viewers of a certain age, can undoubtedly relate. It resonated with me enough to make me keep watching Friends From College, and to even connect to some of it, while also wondering how much better this series might have been if the volume on its characters and situations had been turned down just a little lower.
  17. It’s part journalism drama, part Sex and the City-style female bonding comedy with sex and romance; it’s equally interested in being both things at once, to the best of its ability, and damned if it doesn’t pull it off more often than you’d think.
  18. Will starts to figure itself out as is goes along, paying less attention to the parts that seemed like bad ideas from the jump and focusing more tightly on the stuff that actually works. It’s a bit of a mess anyway, but I like that it exists.
  19. The Defiant Ones certainly falls into that overly celebratory trap at times. But the careers of both men are so inherently interesting, and the incorporated footage of some of the most revered pop musicians in history doing their thing is so much fun to watch, that you may be willing to forgive the show’s overuse of words like visionary and genius.
  20. The most striking thing about Snowfall, though, is that it never seems less exciting, less special, than when it’s doing the standard Scorsese/Tarantino thing and putting groups of treacherous men (and a few women) at cross purposes, then watching them threaten and bluff each other until the guns come out (or don’t).
  21. We tend to crave pop culture that’s addictive and purely entertaining more than ever during this season, and Younger is precisely that sort of television. It’s also the sort of show that pokes fun at millennial stereotypes without talking down to members of that demographic.
  22. Gypsy plods forward, adding one more unprofessional and inappropriate act onto another until you’re pretty sure that at some point, Jean’s Jenga tower of duplicity is going to collapse. The problem is that when it does, you’ll have already gotten too bored to care.
  23. What makes GLOW enjoyable (if sometimes imprecise and irksome) is its willingness to mine the same bad and/or stereotypical situations that it’s critiquing for belly laughs.
  24. Regular viewers can expect to encounter all the usual Baking Show elements: a weekly series of challenges focused on different types of baked goods, from cakes to breads to botanically inspired concoctions; competitors who come across, without exception, as likable, decent humans; dashes of humor and encouraging pep talks from hosts Sue Perkins and Mel Giedroyc, for whom this is also the last season; and that huge wedding tent of a set that appears to have been set up in Lady Mary Crawley’s sprawling backyard.
  25. Even the best performances and moments suffer from the season’s lack of focus, inability to shift tonal gears smoothly, and Netflix bloat (the siege might’ve worked better as a more compact arc rather than a 13-episode extravaganza). Points for audacity notwithstanding--this is another instance of an ambitious and unusual series writing conceptual checks that its storytelling prowess can’t cash.
  26. There’s a twist at the end of the third episode, the last one made available to critics, that, along with the fine performances and the welcome focus on female solidarity, will keep me coming back to this series, at least for a few more episodes. The polish on Claws has some noticeable chips in it. But I don’t want to remove it, not just yet.
  27. The show carries itself with a no-big-deal confidence, exploring subjects organically, as you would in a real conversation, and always rooting its one-liners in the psychology of its characters.
  28. The third and final season of Bloodline, like the two that preceded it, is steeped in the show’s best qualities: the palpably noirish heat of the Florida Keys and fine acting from an ensemble that is truly as good as it gets on television. But its murders and cover-ups and layers of lies to mask the cover-ups often become extreme and trying to the patience.
  29. In summary, the new Dirty Dancing is disappointing and a bit all over the place. But its biggest sin is that it’s bloated and boring.
  30. I was riveted--I highly recommend watching this show on the largest screen possible, in dark room, with no interruptions. But I didn’t see much evidence that the new Twin Peaks is going to pivot anytime soon and turn into the show that people remember, or think they remember.

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