New York Magazine (Vulture)'s Scores

For 287 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 Behind the Candelabra: Season 1
Lowest review score: 0 Liz & Dick: Season 1
Score distribution:
  1. Mixed: 0 out of 149
  2. Negative: 0 out of 149
149 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. Sherlock is a wonderful series. Just thinking about it makes me smile.
  5. 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.
  6. 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.
  7. The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
  8. The best of the new fall sitcoms.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. From the moment I saw the pilot of Girls, I was a goner, a convert.
  14. 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.
  15. A triumph of writing, directing, and acting.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. This series is Burns doing Guthrie, bringing a lifetime of experience and craft to bear on a story of people struggling through hard times. He's picking up a guitar and telling us a story--a great one.
  23. 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.
  24. At its best, Futurama blends raised-eyebrow postgraduate-thesis humor and fifth-grade-lunchroom spit-take humor. That’s not a combination you see every day--and as a bonus, Futurama stirs in unironically beautiful, at times thrilling visuals.
  25. Episodes is great--the sharpest sitcom debut this year. Among other excellent qualities, it's actively funny, with none of the dramedy lumpiness that spoils other half-hour offerings (bad camp, faux-energy badinage, heavy-handed sentimentality).
  26. I suspect it might be a classic that deserves a spot in the pantheon of great, long-delayed follow-ups, though I need to watch the whole thing again and live with it and then write about it again to be sure. That I’d want to rewatch the whole season immediately is, of course, another, possibly higher compliment.