New York Magazine (Vulture)'s Scores

For 672 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: 64
Highest review score: 100 Transparent: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 385
  2. Negative: 0 out of 385
385 tv reviews
  1. With a calculation of word and image that’s almost elegant, Five Days gives us sociology and anthropology instead of shock and awe.
  2. Throughout, there’s a sense that ­Community is building, or rebuilding, toward something big and bold--that what you’re seeing is not so much a revamp as a restoration. Few live-action sitcoms are so aware of their artificiality and yet so ­singularly alive.
  3. Humans has delivered a second season that demonstrates a full, imaginative expansion of its narrative.
  4. Bee's program is one more "publication" added to an increasingly crowded TV newsstand, but it already feels distinctive enough to merit regular check-ins, if not yet a DVR season pass.
  5. This is unusual fare for HBO, sunny and serene and easy to dismiss. But I think it will find an enthusiastic audience for its benign vision of the detective as feminine healer, grounded in the show’s lovely lead performance by singer Jill Scott as Precious.
  6. Lifetime has one of the most aggressively interesting dramas in recent memory. There's borderline sociopathy, true human frailty, workplace strife, family drama, romance, social commentary, and a shred of satire.
  7. We’re in excellent company, from the Boston Massacre to the Declaration of Independence to Adams’s plenipotentiary missions to Versailles and the Court of St. James to his unsought but extremely gratifying vice-presidency in the first Washington administration.
  8. Don't let [Dr. OZ's] presence dissuade you from enjoying what's otherwise an almost freakishly absorbing series.
  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. It’s less an action drama than a droll, often gleefully random comedy about deception, family, and the complexity of the human personality. It sets a distinct narrative path for itself but then departs from it early and often. Over time the digressions don’t just subsume the show’s main plot, they become the main source of its specialness.
  11. Westworld is an adults-only drama with characters who seem a bit abstract and thin in the first couple of episodes but who grow more complex the longer you spend in their company.
  12. This Roots isn’t as altogether strongly acted as the 1977 version--though there are still plenty of standouts.... But the unmistakable spiritual dimension, an aspect lacking in the original, compensates, and it comes mainly from the writing and direction.
  13. 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.
  14. The more Halt and Catch Fire continues to lean into the emergence of Cam and Donna as two of the major forces behind the show’s alternate-reality internet revolution, the more interested I am in seeing where it goes. Also, the more it does that, the more this series about the Silicon Valley before HBO’s Silicon Valley feels like must-watch TV, as opposed to just should-watch TV.
  15. The show may be ridiculous, but the humiliation and panic feel real. And there's something to be said for surprise.
  16. This show is trying to do a lot. Some may find that approach excessive and the idea of Grand-Guignol–ing what’s happening in our country a little crass, especially since the show takes some pretty pointed jabs at progressives. Others, especially those well-versed in the series’ over-the-top sensibility and drily snarky humor, will dig into it all with complete relish ... The whole cast is terrific, but the series is (no surprise) a real showcase for Paulson, who’s a bundle of jangled nerves and teary-eyed fear.
  17. The show’s chilled-out confidence (as if it were starting its second season rather than its first) is appealing, and the cast’s Swiss-watch timing makes even lackluster exchanges crackle, but The Michael J. Fox Show’s selling point is its multivalent comic richness.
  18. YM&TA is actually a charmer--smart, original, oddball, and probably the best show on NBC's current roster.
  19. There are times when it’s a little too relaxed for its own good, and it has trouble reconciling its wit and sexiness with bursts of harrowing violence that feel imported from a Quentin Tarantino movie (or a film by one of Tarantino’s imitators). But the sum total is so beguiling and unusual--for television as a whole, if not for Sundance, which specializes in this kind of storytelling--that it’s hard not to become entranced by it.
  20. There are so many background jokes and one-liners and silly animals that the show's emotional depth caught me by surprise.
  21. It’s really located at that dirty crossroads HBO discovered long ago, smart enough to be uninsulting, but obsessed enough (and graphic enough about) sex and wildness that it is addictively watchable, not so much a guilty pleasure as a binge food. Cable catnip, in other words.
  22. Nothing in the first few episodes of the new seasons rises to that level of madness [in the first season], but give the show another week or two, and I'm sure it'll get there.
  23. Yes, the conspiracy is well-crafted, and yes, it's an engaging critique of society in the way that lots of cool speculative fiction tends to be.
  24. Boss' mix of deft footwork and bull-in-a-china shop clumsiness can be off-putting, but it's always anchored by Grammer's alternately scary and mournful lead performance, and you're never in doubt that there's a fully formed sensibility behind it.
  25. Trust Me is a neat spin on this ancient tradition--and in fact, I shall grandly state that it is, in both its lovable and off-putting elements, a workplace drama for our time.
  26. Laura Harris as Jill Bernhardt, the platinum-blonde district attorney, Paula Newsome as Claire Washburn, the surprisingly jolly medical examiner, and Aubrey Dollar as Cindy Thomas, the impossibly young newspaper reporter, do not add up to a Kaffeeklatsch or a therapy group. I’m not saying that they don’t occasionally discuss emotions (usually Angie/Lindsay’s), but it’s more grad-school seminar than touchy-feely hot-tub hangout.
  27. What it delivers is something more along the lines of Boardwalk Empire, where the main draw is suspense and bursts of gunfire and torture, undergirded by the low-level dread that comes from not being able to trust most of the characters when they tell you who they are and what side they’re loyal to, and wondering when, not if, the other shoe will drop.
  28. He may be sicker than Hank Moody or Larry David, but he’s also a far richer figure, and in his own strange way, just as universal, thanks to the transcendent performance of Michael C. Hall, who deepens every sick joke and raises the stakes on every emotional twist.
  29. The whole cast is pretty much perfect for the story Shades of Blue is trying to tell. Lopez makes a fine lead--she's tough and unsentimental here, and even though they've made her look gorgeous, you don't necessarily think of her as a glamorous character. But it's Liotta's show.
  30. As it progresses and its narrative deepens, viewers are left with plenty of substantive matters to ponder, especially after its conclusion.

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