New York Magazine (Vulture)'s Scores

For 393 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 3.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Top Of The Lake
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 201
  2. Negative: 0 out of 201
201 tv reviews
  1. The storytelling seems to have hit a new peak of relaxed confidence. In every scene you get a sense of steady forward motion. New characters are introduced and old characters deepened, and devious new plots are laid out so deftly that it's not until midway through episode three that you look back over everything that came before and laugh at yourself for not having seen a particular surprise coming
  2. Louie is the anti–Anger Management: bizarre, inventive, and bold.
  3. Splendid television.
  4. Every shot and cut seems timed for maximum impact; you get a little bit of beauty here and there, but for the most part it's go, go, go, comrade, onto the next thing, and don't look back.
  5. Transparent's major achievement is putting itself on the map.
  6. The level of craft and intelligence is so high here that Thrones earns the right to think of itself as doing for sword and sorcery what Coppola's Godfather trilogy did for the gangster picture: taking it seriously as modern myth without sapping it of old-fashioned entertainment value.
  7. Sherlock is a wonderful series. Just thinking about it makes me smile.
  8. The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
  9. For all its gore, gunfire, and criminal nastiness, it's a joyous show; even when the characters are scowling, the show seems to be grinning at you.
  10. Oh My God is animated by deep skepticism and an appreciation of joy, qualities that don’t normally mix in comedy and that might seem, in a different context, incompatible. But they aren’t incompatible--not here, anyway.
  11. Is Game of Thrones one of the great HBO series? It's too early to tell, though judged purely as an immense yet improbably graceful narrative machine, I'd have to say yes.
  12. The program works so well as curdled Americana, you might not be inclined to peel back the other layers, much less delve into what’s happening at a storytelling level (which is even more impressive); but that’s a part of what makes Olive Kitteridge so pleasurable: its unobtrusive ambition.
  13. Every conflict or showdown is emotionally or physically concrete yet at the same time metaphorical, the stuff of future legends. And the My Dinner With Andre and His Guns dialogue is so off-the-charts lyrical that you can hear the writers chuckling.
  14. The best of the new fall sitcoms.
  15. You could say it’s as close as a broadcast network has gotten to the personal artistry of the best premium-cable shows, if it weren’t bolder and more elegant than anything on pay cable right now, including HBO’s own serial-killer drama, True Detective.
  16. It's these deeper questions [Deciding to live the day-to-day performance of an ideal, a belief, an emotion, a set of principles, a faith?] that give the action and melodrama a bit of existential heft, and redirect our vicarious enjoyment away from fantasy and back towards reality.
  17. Sherlock (and Sherlock [the show]) is that good, we do forgive his callousness, and yeah, we'll wait for two years for his return and never let our fervor flag. In exchange, when the miracle happens and he (and the show) come back, he's as good or maybe better than ever.
  18. A triumph of writing, directing, and acting.
  19. From the moment I saw the pilot of Girls, I was a goner, a convert.
  20. The first four episodes sent out for review become stranger and less “realistic” by the hour, not to mention more stereotypically HBO-like (artfully arranged corpses; drug-thug posturing and handgun-waving; gratuitous T&A) and less concerned with the case that Cohle and Hart are allegedly trying to solve. But the show’s time-shifting structure is so painstaking that even when True Detective spirals into lurid madness there still seems to be purpose behind it.
  21. Rick and Morty won't get us any closer to a workable definition of Harmon's genius, but at least it clarifies that the unhinged quality that Community once had wasn't accidental.
  22. This is one of the year’s very best TV programs, hard as it sometimes is to endure.
  23. The film has poetry and vitality, too, and its greatest virtue is that it seems not to give a damn if you approve of any of its creative choices as long as you connect with it emotionally and intellectually.
  24. The show’s alchemy stems from its skillful use of smartly cast actors whose poker-faced sincerity makes us take whatever version of this story we happen to be hearing as gospel.
  25. To watch any engrossing drama is to feel for fictional people the way we feel for real-life friends. Even when they piss us off, we wish them the best.
  26. This is one of the best movies about the artistic process I've seen--a film that can engross and illuminate even if you know nothing of Sondheim.
  27. It lets you simultaneously laugh at and with the characters, and feel justified for laughing, then ashamed, and then the pendulum swings back again; this is a much messier and more fascinating set of reactions than what sitcoms typically evoke.
  28. The show’s version of machismo is hilarious, and feels new. Silicon Valley captures the pack-wolf preening of guys whose muscles are located mostly above their necklines.
  29. Whoopi Goldberg presents Moms Mabley is simple but perfect--one of those documentaries that's about what it seems to be about, but is also about something else.
  30. There’s a solid, patient, confident quality to this movie that’s rarely seen in modern mainstream cinema. It’s better than most American films playing in theaters, and better than most of HBO’s films, too.

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