New York Magazine (Vulture)'s Scores

For 386 reviews, this publication has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Transparent: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 200
  2. Negative: 0 out of 200
200 tv reviews
  1. The movie is better than you've heard but not good enough to linger in the mind.
  2. The movie feels too long, padded even, but its relaxed vibe and non-cloying tone are a tonic.
  3. 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.
  4. 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.
  5. It's the new Revenge, but so much goofier and more shameless that it makes Revenge look comparatively measured.
  6. Which isn’t to say that State of the Union is merely wicked fun, mean games, and goofy looks. Ullman’s America needs work.
  7. 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.
  8. 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.
  9. So, concept, story, dialogue: just okay. Cast: outstanding. Sean Saves the World is on my "wait and see" list for sure.
  10. 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.
  11. It's knowingly dumb and aiming for smart-dumb, and over time it might get there.
  12. 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.
  13. The first five hours feel more soapy than salacious.
  14. Both the new actor and the revamped series take some getting used to.
  15. 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.
  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.
  17. Missteps are balanced by bits that ring oddly true.
  18. 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.
  19. 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.
  20. A series that’s not as impressive as its lead actor’s performance.
  21. 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.
  22. 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.
  23. 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.
  24. Still, for all its flaws, this is an intriguing show, packed with atmospheric details and Easter-egg-style grace notes.
  25. 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.
  26. At its best, Brody Stevens: Enjoy It! taunts viewers into wondering if sanity and insanity are both merely artifice, and proves that in the hands of a capable enough performer, they're often indistinguishable from each other. The show is definitely interesting. I'm just not sure how entertaining it actually is.
  27. 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.
  28. There are glimmers of hope in Portlandia's attempts to build a faux mythology and turn their Portland into a borderline fairy-tale realm--basically Parks and Recreation's Pawnee with an actual zip code.
  29. In the not great but likable and intelligent Madam Secretary, Téa Leoni’s talent gets a deserving showcase.
  30. 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.

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