New York Magazine (Vulture)'s Scores

For 496 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 2.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Americans: Season 4
Lowest review score: 0 Liz & Dick
Score distribution:
  1. Mixed: 0 out of 265
  2. Negative: 0 out of 265
265 tv reviews
  1. This is my dream for all shows: that they have a clear idea; a way in which that idea is uniquely theirs; a cast that can give a rich, full life to those concepts; and the savviness to use both comedic and dramatic elements to explore and enrich those characters and the articulated world they inhabit.
  2. The result is a conventional drama lit, shot, and edited with maximum cinematic oomph, in ways that tease out or add meanings that might not have been carried by dialogue and performance alone.
  3. Pushing Daisies will drive you crazy or make you smile.
  4. The resulting series features trick photography, murder, romance, and--much like the Fox "Terminator" series--more clever ideas and witty jokes, not to mention cool jazz, than the audience expects or deserves.
  5. He has a light touch, and his camera's gaze is warm and kind. This movie is knowing, and sometimes ruefully ironic, without ever seeming smug.
  6. By refueling with the Madoffs, the show’s writers have brought a titillating jolt to the show’s by-now-established riffling of silvery, half-concealed trauma flashbacks. Even if, in the end, it’s nothing more than highly lacquered candy, it’s tasty stuff.
  7. It's the most engrossing cop series since season one of NBC's Homicide, and maybe the most raggedy and real.
  8. Lights Out starts slower but has an even more intriguing anti-hero dad: Patrick "Lights" Leary (in a beautiful and subtle performance by Holt McCallany), a retired heavyweight champion with itchy fists.
  9. Live Another Day's drone story extends Bush-era mechanized warfare into the age of Obama. It's another example of 24's knack for mixing left- and right-wing assumptions into a ferocious action film cocktail.... Welcome to one more day.
  10. Shameless also has a rough and original charisma of its own, emphasizing as it does the freedom and not merely the deprivation of its family of quasi orphans.
  11. 11.22.63 is sprawling and rather leisurely, to an extent that might prove a deal-breaker for some.... But the net effect is ultimately intoxicating if you accept that the digressions are the point of the story, and are in fact inevitable given the sort of person Jake is.
  12. 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.
  13. Entertaining... What [Nagy] has done is tailor this tabloid material to several different narrative tastes, which alternate as the movie shifts from love affair to temper tantrum to gunfire to murder trial and back again.
  14. Family Tree is less belly-laugh funny than wry and occasionally poignant.
  15. 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.
  16. 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.
  17. It's magisterially trashy: sweet, glorious madness.
  18. This season, Survivor’s Remorse seems to knows more clearly what it is, and is confidently aware that it’s becoming what it always wanted to be.
  19. The Americans might take a while to find its footing--most shows do; but it already has a personality, a pulse of life.
  20. We're left with just a sense of promise. And Quantico is a hell of a promising pilot.
  21. The show is perfectly cast, and it certainly seems like there's plenty of story to be had.
  22. The fourth hour immediately went on my list of the year's best drama episodes; at least half of it is eye-rollingly silly, but the other half is magnificent. Just when you think the Underwoods can be written off as comic strip political cousins of the Macbeths, they do or say something that's genuinely moving, and that makes you realize they have hearts after all, even though they're probably tiny and ice-cold, and only beat for one another.
  23. There's a lot to like in these first two episodes: Dana and Jessica's scenes have greater psychological weight than before, thanks to Brody's absent presence, though they do raise the uncomfortable question of how interested we need to be now that the family isn't directly connected to the show's central institution anymore (the Betty Draper problem on Mad Men). The episodes also give us a clear, at times unnerving sense of how hard it must be for somebody as gifted but volatile as Carrie to work in such a button-down environment, and how easy it must be to write her off as merely unstable or merely crazy.
  24. Corden did a perfectly solid job. Last night's premiere went about as well as a premiere can go.
  25. The show is a compendium of high-octane clichés, just clever enough that you can't call it stupid and just stupid enough that you can't call it clever.... There are three saving graces. One is the premise, which is enjoyably ludicrous.... The second saving grace is the multicultural cast and international flavor.... The third saving grace, certainly not to be underestimated, is Luna, who's got a marvelous Everyman quality.
  26. As sitcoms about talented, self-defeating assholes go, though, Maron is pretty good, though it has yet to plumb the sublime depths of self-loathing showcased on the likes of Louie, Girls, and Veep.
  27. Quality-wise, it's closer to Child's Play 2 or The Kiss than it is to Re-Animator--which truly is awesome, as anyone who's seen it will testify--but I love the fact that The Strain seems to be trying to evoke these sorts of better-than-government-work horror midnight time-wasters.
  28. There's a sweetness to the series, an almost admiration for the various crummy behaviors.
  29. At times, there's a dangerous undercurrent of anti-sentimentality, a risk of sentimentalizing curmudgeonliness itself. But for all these flaws, I still found the series excitingly ambitious--funny, sexy, strange.
  30. Sagan was on record as being agnostic, but he carved out a space within the 1980 Cosmos for believers as well, and some of his more oracular turns of phrase convinced many people of faith that he was, if not an ally, then at least not an adversary. This new Cosmos is not so easygoing.

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