New York Magazine (Vulture)'s Scores

For 312 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Louie: Season 3
Lowest review score: 0 Liz & Dick: Season 1
Score distribution:
  1. Mixed: 0 out of 164
  2. Negative: 0 out of 164
164 tv reviews
  1. 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.
  2. It's grindhouse and art house, and it carries itself as if it doesn't give a damn what you think of it. And its infuriating push-pull quality is still fascinating.
  3. This is one hell of a debut, and the last seven minutes are brilliant, hitting emotional notes that you might not expect.
  4. It feels lived-in, confident. That's a good sign.
  5. The Hour has never pretended to be anything other than a very classy potboiler filled with attractive people, one that puts its heroes into predicaments that wouldn't be out of place in a silent film while sneaking social and historical commentary into the margins.
  6. The melodrama is deliciously engrossing and occasionally wrenching--two episodes in the middle of season three may empty local Rite-Aids of Kleenex--but in the end, it's a light series: "light" as in the opposite of dark, not insubstantial; warm, hopeful, inspiring.
  7. Contemporary TV is suddenly filled with shows starring charismatic yet ostentatiously flawed heroines: Homeland, The Mindy Project, Girls, Don't Trust the B---- in Apartment 23. Enlightened stands out because its vision is so much wider.
  8. The Americans might take a while to find its footing--most shows do; but it already has a personality, a pulse of life.
  9. Smash got the memo from viewers. I don’t think they read all of it, necessarily, but at least they got it, and they’ve changed just enough to raise the series from a C+ to a B. So: progress.
  10. For the most part, though, what we see and hear is all we’re allowed to know, and it’s enough, just as the accumulation of moments in a fly-on-the-wall documentary are enough to make us feel for the subjects.
  11. [A] clever, at times tricky season opener. In Lost-like style, it strategically withholds key information that would help us make immediate sense of Don’s behavior, which by turns suggests a prisoner, a sleepwalker, and a ghost.
  12. It’s not rushing us to the next plot point. It’s content to be present. It breathes.
  13. Family Tree is less belly-laugh funny than wry and occasionally poignant.
  14. It's the kind of work that I like to classify as "deep shallow," in that it deals in familiar tropes and simple themes but articulates them in a clever, stylish way.
  15. We stay interested because executive producers Graham Yost (Speed) and Jon Avnet (Fried Green Tomatoes) know what they're doing and have conscripted a crackerjack cast to do it.
  16. For all its comedy, this is a serious show, one that’s keenly attuned to the damage that women do to other women, and that men and women do to one another, and that the state does to its people before, during and after they go to prison.
  17. Thanks partly to the writing, but mostly to Elba's performance, Luther rarely comes off as one of those swaggering CBS crime-show smarty-pantses, dumping wisdom on subordinates--and that's good, because even at its sharpest, Luther feels a bit too CBS for my taste.
  18. Mom is about shtick, and it has hired a core group of actors who know how to do it.... The whole cast is just about perfect.
  19. It's probably a mite too ridiculous for the dire tone it sometimes affects, but it's confident, verging on brazen, and one tends to respect that quality in entertainment.
  20. 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.
  21. Masters of Sex is an intelligent, assured drama that gets better and better as it goes along.
  22. The show has a knack for Godfather-style plots and counter­plots, as well as for sixties Hammer-horror violence that doles out gore and suffering strategically: a dollop of blood here, a severed head there. There’s a bracing wantonness to the writers’ inventions here.
  23. Some of the encounters evoke the returned abductees in Close Encounters of the Third Kind, while others have the nasty, bone-deep chill you associate with John Carpenter’s stalk-and-kill classics. Beneath it all is an air of existential dread. The universe is out of order. Life itself has gone haywire.
  24. Far From Finished isn’t an instant classic on the order of Bill Cosby: Himself or his stand-up albums Revenge, Why Is There Air?, and Wonderfulness. It’s more like a pencil sketch by a master painter or a late film by Woody Allen or Clint Eastwood.
  25. It's still the sort of show that makes you reach out to it, rather than reaching out to you--a characteristic that Treme shares with a good many of its characters, a mostly obsessive and intractable bunch who are inclined to monologues about art, work, family, mortality, and the characteristics of the perfect po-boy.
  26. 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.
  27. For the most part, this is a light, bouncy service comedy in the spirit of The Phil Silvers Show, Gomer Pyle, USMC, and Stripes, It's a high jinks–heavy but psychology-driven show that wants to please a general audience while also seeming halfway credible to viewers who've served in the armed forces or know somebody who has.
  28. Girls is well aware of the conundrum Hannah and Adam and other characters are trapped in--we're all trapped in it, to some degree--and it has sense enough to let us figure this, and a lot of other things, out for ourselves.
  29. There's nothing formally or dramatically groundbreaking about it, except for its "no big deal" attitude. But that in itself is striking. It should be counted as progress. That Looking doesn't seem to be terribly concerned with words like progress should count as progress, too.
  30. The 100 is better than it has to be, a little more exciting and surprising and intense.

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