New York Magazine (Vulture)'s Scores

For 302 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 2.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Futurama: Season 10
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 158
  2. Negative: 0 out of 158
158 tv reviews
  1. The more frequently Birthday Boys returns to seemingly unfunny or barely funny bits, the funnier they eventually become--another Python borrowing, and a good one.
  2. 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.
  3. Political comedies tend to work best when they're absurdist (like Duck Soup, or HBO's Veep) or much, much subtler (the gold standard being Tanner '88, a collaboration between Trudeau and Robert Altman). Alpha House falls somewhere in the middle and gets stranded there, though the company is so likable that it's a limbo you may not mind being stranded in.
  4. 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.
  5. There are so many familiar ideas and stories in BMJ that it's easy to miss some of the show's more daring and interesting moments. Mercifully, though, they're in there.
  6. 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.
  7. 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.
  8. 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.
  9. Not so funny but genuinely touching.
  10. The first five hours feel more soapy than salacious.
  11. I suppose some of it is funny, as in a Kafka/Beckett/Pinter soft-shoe shuffle of grotesques. Still, what’s so far much more mesmerizing about The Riches is class war and caste hate.
  12. Reaper is strictly for fans of movies like Superbad.
  13. The unnecessary reimagining from executive producer David Eick, is a lot darker than the 1976 original
  14. Which isn’t to say that State of the Union is merely wicked fun, mean games, and goofy looks. Ullman’s America needs work.
  15. This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
  16. Like Huck and Jim, or Ishmael and Queequeg, Crusoe and Friday embody the triumph of homoerotic male bonding over the steeps of race, culture, and ethnicity.
  17. The series is primarily goofy formulaic fun, and so far, Katic is no Deschanel, but like its twin, the series uses that shockingly durable Remington Steele DNA--peacock dude, furrowed-brow femme--to build neat puzzles out of human suffering.
  18. It's possible The Big C will get better, even if (maybe especially if) Cathy never does. And if it takes two seasons to become a great sitcom about dying? That might be worth the wait.
  19. Both the new actor and the revamped series take some getting used to.
  20. The movie is better than you've heard but not good enough to linger in the mind.
  21. Missteps are balanced by bits that ring oddly true.
  22. It's the new Revenge, but so much goofier and more shameless that it makes Revenge look comparatively measured.
  23. It's all rather weightless: just your usual sitcom-style misunderstandings and bruised egos and "complications ensue," with no sense that anything larger is at stake.
  24. Too much of Political Animals feels like good-enough-for-government-work drama, and I can't help believing it would have been more compelling, maybe genuinely subversive, if it had replaced some of the scenes that attack the show's main themes head-on with pick-axes, and substituted ones that showed the female characters simply doing their jobs, commanding more than reluctant respect from men.
  25. It's knowingly dumb and aiming for smart-dumb, and over time it might get there.
  26. Hell on Wheels didn't turn into a great drama, but it settled into a distinctive groove, growing more relaxed and confident by the week.
  27. The weak link is Jesse Bradford's Chris.... The other couples are more humanely drawn. Because they make emotional and psychological sense, the chirpy sitcom banter goes down more smoothly.
  28. The pilot for ABC's extraterrestrial silly-fest feels half-baked, and parts of it just sort of lie there, but this shouldn't be a deal breaker.
  29. Still, for all its flaws, this is an intriguing show, packed with atmospheric details and Easter-egg-style grace notes.
  30. Chicago Fire gets better week-to-week, finding its own vibe, one that mixes TV-14 gore, soap opera entanglements, and working-class-hero earnestness. Sincerity puts the whole thing over.

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