New York Magazine (Vulture)'s Scores

For 413 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Louie: Season 3
Lowest review score: 0 Liz & Dick
Score distribution:
  1. Mixed: 0 out of 209
  2. Negative: 0 out of 209
209 tv reviews
  1. It's a silly, silly, silly, silly movie. But it deserves kudos for its control of tone, which is a bit uncanny at times.
  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. 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.
  4. The series' bludgeoning aesthetic is silly, but it works. Much of History's programming aims to intrigue viewers who might never crack open a book, while assuring literate history buffs that the filmmakers know what they're talking about.
  5. Derek is engaging and sometimes very funny. Parts of it are ostentatiously sentimental, verging on gooey.
  6. The unnecessary reimagining from executive producer David Eick, is a lot darker than the 1976 original
  7. If you think you can tough it out, the The Comedians is worth a look, if only to have an opinion on--and if you stick with it, you may feel that your time hasn’t been wasted, and that perhaps The Comedians just needed time to figure itself out, not unlike the fictional series it’s chronicling. But man, does it test your patience.
  8. This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
  9. Not so funny but genuinely touching.
  10. It's not fully good by any means, but I will watch more episodes, and I'm interested how everything will get resolved. I'm more curious about the characters of The Slap than I am about the characters of, say, The Affair.
  11. The movie is better than you've heard but not good enough to linger in the mind.
  12. The movie feels too long, padded even, but its relaxed vibe and non-cloying tone are a tonic.
  13. 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.
  14. The show is no great shakes. The ostensible drama and tension rarely feel earned, and people's attitudes about child development seem under-informed. But as the show digs harder into its sci-fi elements (it's loosely based on a Ray Bradbury short story called "Zero Hour," in which children facilitate an alien invasion), and pushes into the whole global-mayhem option, it picks up a little juice.
  15. 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.
  16. It's the new Revenge, but so much goofier and more shameless that it makes Revenge look comparatively measured.
  17. Which isn’t to say that State of the Union is merely wicked fun, mean games, and goofy looks. Ullman’s America needs work.
  18. 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.
  19. 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.
  20. So, concept, story, dialogue: just okay. Cast: outstanding. Sean Saves the World is on my "wait and see" list for sure.
  21. 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.
  22. It's knowingly dumb and aiming for smart-dumb, and over time it might get there.
  23. 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.
  24. The first five hours feel more soapy than salacious.
  25. Both the new actor and the revamped series take some getting used to.
  26. 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.
  27. 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.
  28. Missteps are balanced by bits that ring oddly true.
  29. 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.
  30. 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.

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