New York Magazine (Vulture)'s Scores

For 360 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 3.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Whoopi Goldberg Presents Moms Mabley
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 186
  2. Negative: 0 out of 186
186 tv reviews
  1. While it's emphatically not a great show, it is an overheated yet intriguing one, driven more by visuals than words--and if you don't mind that its gory action and soap-opera plots aren't yet matched by dialogue and performance, it's worth a look.
  2. Nothing in this pilot promises how fascinating the show will ultimately become, and unfortunately, the show is more efficient than truly good. ... The first four episodes contain no aesthetically pleasing shots or sequences, just tedious coverage of talk and action, and too many of its 'shocking' moments are dependent on visual/aural shortcuts. ... Nevertheless, The Following fascinates, thanks to soulful lead performances by Bacon and Justified's Natalie Zea (as Carroll's ex-wife) and the nervy way it develops and sustains its central flourish.
  3. Broadchurch excels at showing the awkward moments between the briskly delivered plot points, and the small details of voice and gesture that define communities in mourning (or guilty panic), and it has the good sense not to overdo anything.... And yet there's something fundamentally unsatisfying about the whole thing, as smart and intricately structured as it is--and it has nothing whatsoever to do with any writing or acting or filmmaking issues, and everything to do with the fact that we've just been to this particular narrative well too many times in 2013.
  4. Derek is engaging and sometimes very funny. Parts of it are ostentatiously sentimental, verging on gooey.
  5. So, concept, story, dialogue: just okay. Cast: outstanding. Sean Saves the World is on my "wait and see" list for sure.
  6. Meyers's first monologue was all down-the-middle one-liners, delivered in the exact "Weekend Update" cadence.... Meyers settled in more once he sat down at his desk.
  7. A series that’s not as impressive as its lead actor’s performance.
  8. The movie feels too long, padded even, but its relaxed vibe and non-cloying tone are a tonic.
  9. The first few episodes don’t showcase enough artistry to justify all the slogging and weeping, the bloodied faces and broken hearts. But I’d be lying if I said The Leftovers didn’t fascinate me.
  10. In the not great but likable and intelligent Madam Secretary, Téa Leoni’s talent gets a deserving showcase.
  11. More troubling is the show's undercurrent of utter confidence, which sits uncomfortably with the clunky drama and borrowed style onscreen. Its best moments are carried by the actors; its worst might give you the disquieting impression that the makers of Gotham think you'll watch pretty much anything if the characters have the same names as characters from the DC universe.
  12. The pilot episode of Forever struck me as the first half of a pretty-good-but-not-great movie; whether it can sustain itself as a TV series remains to be seen.
  13. The show is fast-paced and unpretentious, and it finds clever ways to deliver exposition that might otherwise be tedious.... [But] It often tries too hard to wow us, when it might have been better off just telling its story and developing its characters.
  14. I wish Galavant were a movie. I found the show charming and festive and impressively committed, but in half-hour chunks, there's very little room to build the kind of momentum the series needs.
  15. The stars are very likable but simply not powerful enough to make you forget the real-life, heavily covered people they're playing. But the movie's precision and empathy can't be denied.
  16. Although this miniseries stages large-scale action reasonably well (with the occasional lapse into visual clichés, such as the silent/slow-motion Boston Massacre) and has a marvelous atmospheric quality, it seems more generic and un-special the more conventionally "exciting" it's trying to be.
    • 41 Metascore
    • 50 Critic Score
    The show’s greatest drawback, in fact, is Spade’s own influence: There are now a thousand TV comedians and a million Websites that toss off dismissive one-liners, so Spade’s snide voice is just one in a deafening din.
  17. We don’t yet know if Thief will go anywhere surprising.
  18. I like [the characters] all enough to hope they can float this so-far-leaky dirigible.
    • New York Magazine (Vulture)
  19. There is nothing in Dirt to look at or think about that we haven’t looked at and decided not to think about before.
  20. [It] telegraphs its most important punch too early on, and the rest is loud music, strobe lights, nose candy, and debauched dancing.
  21. The show seems to take forever to get anywhere.
  22. K-Ville’s co–executive producers are both cop-show veterans--Jonathan Lisco of NYPD Blue and The District, Craig Silverstein of Bones and Standoff--who know how to yank our chains with close-ups, jump cuts, booster shots of adrenaline, and low-rent noir.
  23. With the exceptions of a furious Denis Leary as Michael Whouley, chief political strategist of the Democratic National Committee, and an over-the-top Laura Dern as Katherine Harris, Florida’s hothouse secretary of State, a splendid cast mostly just sits around watching the bad news on television, dutiful to the letter of Danny Strong’s conscientious script yet insufficiently roused to righteous spirit even as, before their eyes, our republic gets banana’d.
  24. Since Swingtown isn’t even peekaboo, much less dirty, I wish I could say that it’s played for laughs. But I don’t know what it’s played for.
  25. Raising the Bar is professional television, but no more than that. Passion and purpose are among the missing.
  26. In the end, it turns out that Homeland Security so desperately needs Olivia on their side of the freak wars that they show her their top-secret Mulder-Scully-esque X-files and recruit both Bishops as her own mercenary team of pattern pods. And I am the queen of the Nile.
  27. And so far, so-so.
  28. The original documentary may have been predatory, but it captured something powerful, the face of failed optimism, the many meanings of the word “spoiled.” Sometimes it’s better to let strange be strange.
  29. It’s not impossible that the show might become, as it seems intended to be, a sitcom take on Susan Faludi’s Stiffed, a perverse fable about the way a man emasculated by the economy learns to strut. But to do that, it would have to have a grander, more empathic vision of the world around Ray. Right now, it just doesn’t go deep enough.

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