New York Magazine (Vulture)'s Scores

For 537 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 2.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Girlfriend Experience: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 290
  2. Negative: 0 out of 290
290 tv reviews
  1. It's itself, and it's an abundantly silly, if very lightweight, show.... But so much of watching Angie felt like watching the most popular show from another country, one where the only jokes come from puns and sight gags, and spilling something is considered high humor.
  2. It still feels, moves, and thinks like the Community you know. It has changed, yet it hasn’t. Its essence remains.
  3. Lifetime has one of the most aggressively interesting dramas in recent memory. There's borderline sociopathy, true human frailty, workplace strife, family drama, romance, social commentary, and a shred of satire.
  4. We’re in excellent company, from the Boston Massacre to the Declaration of Independence to Adams’s plenipotentiary missions to Versailles and the Court of St. James to his unsought but extremely gratifying vice-presidency in the first Washington administration.
  5. The brilliance of the writing and world-building on The Good Place is taken to another level by its cast.
  6. The film version of Cranston's LBJ only comes to life when he's listening to other characters or silently brooding to himself (while voice-over narration articulates his fears and doubts); otherwise he's a Madam Tussaud's waxworks LBJ that can move and speak, a testament to latex craftsmanship and the careful study of newsreels. The bigger his LBJ is in this film, the less credible and interesting he is.
  7. The Americans might take a while to find its footing--most shows do; but it already has a personality, a pulse of life.
  8. The show is savvy and hilarious and I was completely sold on it, but I'm also not surprised that NBC ultimately decided not to air it.
  9. Too much of the show may remind you of the experience of being trapped in a bar with shrill drunks who aren’t anywhere near as fascinating as they seem to think. Still, the series lingers in the mind. With its hurts and silences, its yellow-brown lighting and oak-and-sawdust textures, and its sense of impending doom, it is unlike anything else that calls itself American television.
  10. We have to put up with characters whose brainpower compares unfavorably with a fire hydrant, but Lee is funny even in a gay bar.
  11. 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.
  12. In its own sweet way, this is a landmark show.
  13. Over its first season, Casual breaks no new ground. Many of its scenes could swap in to any number of indie movies about bougie ennui, and many of its conversations have been had better elsewhere. That said.... Casual is often smart, and it's well paced, and it addresses its to-do list head-on.
    • New York Magazine (Vulture)
    • 77 Metascore
    • 70 Critic Score
    Dexter treats extreme violence much in the same way that GoodFellas did: as something horrifying, intoxicating, seductive and thrilling, all at the same time.
  14. There are a few lackluster characterizations and performances, and scenes in which supposedly hardcore professionals seem more naïve than they might be in life, presumably to make it easier for The Bridge to set up little lessons in sociology, history, and politics. But this show’s worth watching regardless of how you feel about its bits and pieces. It’s an attempt to make an epic on an indie-film budget.
  15. This series feel like a fifties leftover, chock-full of unimportant secrets.
  16. Each episode parodies a famous documentary, sometimes with exacting precision and sometimes with not-so-exacting precision.
  17. It's at its best, perhaps, when showing the emotional complexities of family.
  18. There's a lot to like in these first two episodes: Dana and Jessica's scenes have greater psychological weight than before, thanks to Brody's absent presence, though they do raise the uncomfortable question of how interested we need to be now that the family isn't directly connected to the show's central institution anymore (the Betty Draper problem on Mad Men). The episodes also give us a clear, at times unnerving sense of how hard it must be for somebody as gifted but volatile as Carrie to work in such a button-down environment, and how easy it must be to write her off as merely unstable or merely crazy.
  19. Empire is cynical and sincere, kidding and not kidding, dumb and smart, and to watch it is to be constantly amazed by what it gets away with.
  20. In addition to being a terrifically solid ten episodes, Narcos feels like the most of-its-moment show that any show has ever been--a distillation of the best, or at least the trendiest, aspects of contemporary television and film.
  21. He may be sicker than Hank Moody or Larry David, but he’s also a far richer figure, and in his own strange way, just as universal, thanks to the transcendent performance of Michael C. Hall, who deepens every sick joke and raises the stakes on every emotional twist.
  22. What it delivers is something more along the lines of Boardwalk Empire, where the main draw is suspense and bursts of gunfire and torture, undergirded by the low-level dread that comes from not being able to trust most of the characters when they tell you who they are and what side they’re loyal to, and wondering when, not if, the other shoe will drop.
  23. It’s unclear right now whether Fogelman’s effort will fully match Parenthood in terms of quality. But for viewers looking to TV for comforting fare that doesn’t sacrifice intelligence--in other words, for a show whose cast and creators don’t appear to be settling--This is Us might be just what the kindhearted baby doctor ordered.
  24. The TV version of Gomorrah feels like an antihero-driven American crime drama that would have been unveiled with great fanfare ten or more years ago.
  25. The first two installments of House of Cards are smartly acted and written, crisply directed by Fincher, and sumptuously photographed by Eigl Bryld (In Bruges), but they’re not mind-bogglingly great, or even particularly surprising or delightful--just solidly adult, with moments of dark wit.
  26. There were several very strong bits, but the best was Oliver's rant about the U.S. media's disinterest in the Indian elections.... At this point, my main complaint about the show is that it's not an hour.
  27. Thanks partly to the writing, but mostly to Elba's performance, Luther rarely comes off as one of those swaggering CBS crime-show smarty-pantses, dumping wisdom on subordinates--and that's good, because even at its sharpest, Luther feels a bit too CBS for my taste.
  28. The more frequently Birthday Boys returns to seemingly unfunny or barely funny bits, the funnier they eventually become--another Python borrowing, and a good one.
  29. It does not feel focus-grouped; sometimes it doesn’t feel second-guessed. Julie and Billy and many of the other characters talk to each other the way best friends talk to each other when they think nobody is listening. Every other scene contains a line that could keep the outrage/apology cycle humming for at least a half-day.

Top Trailers