New York Magazine (Vulture)'s Scores

For 391 reviews, this publication has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Justified: Season 6
Lowest review score: 0 Liz & Dick
Score distribution:
  1. Mixed: 0 out of 201
  2. Negative: 0 out of 201
201 tv reviews
  1. The pilot is funny but exhausting, but I doubt the show's ability to sustain this tone and these characters over the long term.
  2. What makes Deadwood so fascinating is not the action we put up with; it’s the language we listen to.
  3. Dirty Sexy Money so far lacks either Aaron Sorkin’s Gatling-gun wit or Alan Ball’s mordant mortuary humor.... That’s the bad news. The good news about Dirty Sexy Money is that we sorely require a show of its sort.
  4. Nothing shameful here, but nothing either to prize it above Ang Lee’s marvelous 1995 version. This new Sense is, in fact, somewhat of a drag.
  5. You may be surprised to hear that it works.
  6. The show's passionate aberrance can be charming and sweet, menacing and creepy, sometimes enchanting and sometimes deeply off-putting.
  7. This show isn't art quite yet, but it's artful. Tiresome as it sometimes is, there's something to it.
  8. Paradise Lost 3 never loses sight of the sickening black humor of it all--how Echols, Baldwin, and Misskelley became, in effect, mere extras in a shadowplay about the omnipotence of the state. In the shadow of such sickness, all the personal dramas can't help but pale, but there are still surprising and powerful moments.
  9. A lot of the strong moments on the show resonated because of how much they reminded me of stronger moments on stronger shows.
  10. [The first three episodes] contain no evidence that it'll rival or exceed season four, an intricately wrought and unexpectedly spare and bluesy batch of hours whose quality exceeded anything that Terence Winter's gangster saga had given us in seasons one through three.
  11. A preposterous premise...only somewhat distracts from an agreeable escapism and first-rate performances by Wentworth Miller and Dominic Purcell.
    • 77 Metascore
    • 70 Critic Score
    Dexter treats extreme violence much in the same way that GoodFellas did: as something horrifying, intoxicating, seductive and thrilling, all at the same time.
  12. The show is more successful when the Donovans are interacting with rich or otherwise spoiled people than when they’re dealing with their own problems, because the problems, however sympathetically written and acted, are a potluck stew of elements you’ve seen in other stories about South Boston Irish-Americans.
  13. Just as we begin to wonder whether Life is intended to be, um, wacky, it takes a darker turn.
  14. Everygirl Amber Tamblyn is miscast as a cop with a fancy Upper East Side pedigree, but the rest of the ensemble is great, including Harold Perrineau as a paranoid cop and Adam Goldberg as his self-destructive partner. Quirky feels like a curse word, tainted forever by the legacy of David E. Kelley (Ally McBeal, etc.), but The Unusuals might actually turn the word back into praise.
  15. It's fair to say that there isn't a single element in The Flash that you haven't seen before. It should all be a big yawn. And yet it's not. The earnestness puts it over.
  16. I wouldn't say season two of The Newsroom is a big improvement over season one, but the show's definitely more measured and confident--and now that we've accepted that certain tics, such as setting the stories in a recent, real past, aren't going away, it's easier to appreciate what Sorkin and company do well.
  17. The show is derivative but passionate, verging on corny. It means what it’s telling us and showing us, and there’s a sense of curiosity and commitment in every frame.
  18. The supporting cast is excellent, even though their characters feel a bit one-note right now.... As long as Andre Braugher is employed, it's a force for good in the universe.
  19. There are times when it takes itself too seriously as modern mythmaking, as if we haven't already seen tales like this before. But even when the momentum flags or the rhythm seems slightly off, the show's sheer gorgeousness is compelling, and it's clear that Darabont has a vision for this thing, even though we can't deduce every detail based on two episodes.
  20. This is still a cheeky, trashy, nasty series, one that'll do or show pretty much anything if it thinks it'll get a rise out of you. But its sense of itself has become more refined.
  21. You don't immediately sense how all of the characters are connected or how they might eventually become connected--most of the pilot is scene-setting and mood-building--but what's onscreen is compelling.
  22. This A&E miniseries is exuberantly batty.
  23. the film is as smart and sexy as it is extravagantly silly; its silliness is knowing and affectionate.
  24. These subplots aren't inherently dull, but they're not as compelling as the sight of a singer belting a new ballad while its authors and their patrons look on.
  25. hat's tough on Manhattan is that things really are substantial, which means the show can find itself at a moment of dramatic excess very quickly.... And yet that's what Manhattan is going for, and it often succeeds, particularly in the second episode, as the emotional, personal side of things starts taking hold.
  26. Pacino and Mirren’s teamwork keeps Phil Spector watchable even when it’s dousing itself in dramatic ethanol and lighting a match.
  27. Slater, whose career has gone pretty much downhill since "Heathers" (1989) and "Pump Up the Volume" (1990), is surprisingly perfect as both of them, adjusting not much more than the brow of an eye, the curl of a lip, and the hiss of a sibilant to indicate the seismic shift from James Bond to Willy Loman.
  28. Vegas isn't art and doesn't knock itself out pretending otherwise. But its no-fuss directness is appealing, and Quaid's ropy scowl keeps it centered.
  29. Gracepoint is a good show--not great, but good.

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