New York Magazine (Vulture)'s Scores

For 466 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Transparent: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 241
  2. Negative: 0 out of 241
241 tv reviews
  1. 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.
  2. 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.
  3. Gracepoint is a good show--not great, but good.
  4. Party Down’s satirical aim is unsteady, and the second episode (featuring Young Republicans) is so dated it’s practically unwatchable. But there’s sharp dialogue and insight into the nature of snuffed ambition.
  5. We have to put up with characters whose brainpower compares unfavorably with a fire hydrant, but Lee is funny even in a gay bar.
  6. 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.
  7. As science and as detection, Bones has a way to go before it's more than a bug in Grissom's Vegas eye. But the screwball romance is promising.
  8. 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.
  9. Colbert didn’t reinvent the wheel, but he took it for quite a spin, and his charisma enlivened even the bits that didn’t quite work, like his “gotcha” question to Bush about the ways in which he differs politically from his brother George.
  10. If the season-three premiere is any indication, although AHS has lost its novelty, it still has that seventies and eighties grindhouse/drive-in/midnight movie feeling.
  11. This mini-series actually improves on the original 1969 Michael Crichton sci-fi non-thriller, which spent too much time in a fab lab in the desert and not enough inside the icky green virus—or outside, where the government was covering up its biological-warfare experiments.
    • New York Magazine (Vulture)
  12. It might take some time to adapt to what the gang is trying to do here, but it’s definitely in sync with the Muppet mission of entertaining everyone at their own level, and for every misjudged moment there are several more that are sublime.
  13. A to Z glides, mainly because its stars, Mad Men's Ben Feldman and How I Met Your Mother's Cristin Milioti, are a flat-out great couple, with an understated screwball energy that Howard Hawks would've known what to do with.
  14. Despite cast changes, rewrites, and producer musical chairs, this brainy soap checks in with promise.
  15. The best I can wish for is a vehicle worthy of Parker’s prodigal talents ... By this standard, Showtime’s new sitcom Weeds is at least adequate, verging occasionally on inspired.
  16. There's still a sense that The Walking Dead is shambling along too lackadaisically. Great pulp is propulsive, ruthless. But the show's embrace of "B"-movie values is a heartening sign.
  17. It’s hard to imagine Hannibal scaling new peaks of originality as drama--not with characters and situations that have, in more than one sense, been done to death. At least there’s life in the acting and in the show’s inventive visuals.
  18. United States of Tara, a flawed but fascinating series about a women with Dissociative Identity Disorder.
  19. Too much of the show may remind you of the experience of being trapped in a bar with shrill drunks who aren’t anywhere near as fascinating as they seem to think. Still, the series lingers in the mind. With its hurts and silences, its yellow-brown lighting and oak-and-sawdust textures, and its sense of impending doom, it is unlike anything else that calls itself American television.
  20. [Mirren] delivers big-time... Congratulations should also go to Nigel Williams, whose screenplay for Elizabeth I is as sassy as Tom Stoppard’s was for Shakespeare in Love.
  21. What we have here is accomplished and absorbing television.
  22. The series is set in recognizably real environments, and the photography, editing, and sound design are often as moody and intense as anything in the work of Paul Thomas Anderson.... Chip’s arrogance and obliviousness undercut any sympathy we might feel for him. Only Galifianakis’s distinctive energy keeps us from finding the character entirely unpalatable.
  23. If you know what you're getting into, it's ghastly comfort food, reassuring in its way.
  24. The six-part miniseries, premiering Sunday on PBS, is indeed largely excellent.... But that sense of dramatic conservation gets just a little bit stifling, and sometimes Peter Kosminsky's staid direction makes the series feel like a top-collar button begging to be undone, even just for a second, while no one is looking.
  25. When you’ve got Peter O’Toole in a Masterpiece Theatre mini-series, who cares how many liberties teleplaywright Russell T. Davies took with the confabulations of Giovanni Giacomo Casanova?
  26. The first two installments of House of Cards are smartly acted and written, crisply directed by Fincher, and sumptuously photographed by Eigl Bryld (In Bruges), but they’re not mind-bogglingly great, or even particularly surprising or delightful--just solidly adult, with moments of dark wit.
  27. Harris's unflappability is the glue that binds all the disparate bits together.
  28. Not enough of Breaking Bad was available for preview to decide whether the supporting cast will eventually satisfy as much as "Weeds" regulars like Elizabeth Perkins, Kevin Nealon, Tonye Patano, and Justin Kirk, but Cranston’s Walter is already a winner.
  29. Four years in the making and ten hours long, it's a remarkable, if dense and often difficult program--at once the most stylistically stripped-down thing Stone has done and (somehow) the most Oliver Stone-y.
  30. The Jim Gaffigan Show is a likable and good one--and it gets livelier and more confident as it goes along. It isn’t trying to knock you out by reinventing the form.

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