New York Magazine (Vulture)'s Scores

For 306 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 Whoopi Goldberg Presents Moms Mabley: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 160
  2. Negative: 0 out of 160
160 tv reviews
  1. It's reasonably clever and well acted and has strong atmosphere and a few good scares, and the concept--a found-footage voyage into the Amazon to locate a mysteriously MIA scientist--is catchy. But the format of the show may prove a dealbreaker for me.
  2. Despite very slight improvements, this series still seems deluded as to what it is and blind to what it could become.
  3. NYC 22 isn't the best or worst show you'll ever see.
  4. Hell on Wheels seems to be puttering around a circular track, with no straightway in sight.
  5. Wilfred is much more pleasant and consistently enjoyable than Falling Skies, but that might be because the stakes are much lower.
  6. It's not quite so bad that you lose all hope, some of the images and performances are memorable, and it's not inconceivable that future episodes could pique my interest again. But for now I'd put it in the "wait and see" column, without enthusiasm.
  7. The Mob Doctor's pilot is stranded between quality cable nuance and broadcast network spoon-feeding.
  8. With its stock supporting characters (Ali and Wyatt are attractive blanks) and its lame central contrivance, this is not a great pilot, but it's far from an awful one.
  9. This is a slight but watchable show, yet more brain candy from CBS's vending machine.
  10. Beauty and the Beast's pilot is rarely more than competent, sometimes stubbed-toe clumsy. But if it can hang around for a while, devise a style that matches its story, and tap its stars' sincerity, it could become a cult hit: perpetually underrated but loved.
  11. The dialogue and situations (written by Kevin Abbott) are nothing special.
  12. It lacks momentum and nerve, and it's sitting on a wellspring of meaning that it's too polite to tap.
  13. It’s not a terrible show. But it’s missing that unharmonious Harmon-ian spark of madness, that smiling volatility that made the show exciting (for fans) even when a line or scene or whole episode wasn’t quite working.
  14. I’m torn between condemning the series for piggybacking on a classic and promising an origin story it doesn’t really care to deliver, and praising it for avoiding the homicidal Muppet Babies formula and pulling a pretty brazen bait-and-switch.
  15. Orphan Black is a cool, clever show, and I don’t discount the possibility that it could become great, or at least excellent; but for now, both its tone and its premise seem worrisomely limited.
  16. As was the case with the first two seasons of The Killing, this new one takes its sweet, sweet time getting going, and as it slowly gains momentum, it carries itself as if it's the greatest series in the history of American television, single-handedly reinventing the police procedural for the 21st century.
  17. The show is partly redeemed by Underwood’s snitty charisma and The Killing co-star Brent Sexton’s affecting work as the hero’s self-loathing former partner, who blames his inaction for Ironside’s condition. Overall, though, this is weak stuff.
  18. Ravenswood will in all likelihood be a functioning teen horror series, but those looking for a radical antiracist message or a lasting parable about the dangers of concentrated power will be disappointed.
  19. Let's just call Intelligence competently made.... It's just fundamentally impossible to care about.
  20. All the actors are spot-on, even ones who have just a few scenes. It's a pity Kayla Alpert's script and Deborah Chow's direction don't do their collaborators justice.
  21. Problem is, these same episodes lurch between nuanced observation of real-world trivialities and goofy sketch comedy exaggeration, and their flashes of spiky personality don't alleviate the feeling that, content-wise, the show is stuck in that regrettably familiar commercial cable bind: not safe, exactly, but not dangerous, either.
  22. That lack of originality pervaded the episode--even though, generally speaking, I found Late Night With Jimmy Fallon to be original and exuberant.
  23. The creative failure of Growing Up Fisher is more distressing than the missteps of About a Boy because there would seem to be so much more potential there. These are characters that, in theory, you haven't seen before, but the show makes them feel too familiar.
  24. For a series with an out-there premise, Resurrection feels awfully ordinary.
  25. Crisis is just the bowl of gravy. It tastes okay on its own, I guess, but you can't really make a meal out of it.
  26. Despite its refreshing commitment to realism, Doll & Em is ultimately too relaxed and meandering for its own good. There are times when you may wish it had embraced the occasional cliches with more gusto.
  27. The problem is, once you get past the initial shock of a fresh premise and start watching the pilot, the show starts to seem more formulaic, with stock characters (mostly female, alas) and what sounds like placeholder dialogue that was supposed to filled in with good stuff later but wasn't.
  28. The lead performances are a tad opaque, and the script feels as though it's telling two separate stories that don't immediately seem as though they'll connect in a graceful way.
  29. Married, for all its frank sex and salty language and disinterest in being loved and indie-film handheld camerawork, is really not all that different from the three-camera network usual, and way too much in love with its leading male character's supposed lovable-ness, considering how shallow he is.
  30. For every tired element, there are lovely, even mysterious touches.... Emotionally, I'm not sure that a lot of Satisfaction makes sense at all, but a certain strain of dream logic holds it together.

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