New York Magazine (Vulture)'s Scores

For 646 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Game of Thrones: Season 2
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 370
  2. Negative: 0 out of 370
370 tv reviews
  1. There are times when you get so wrapped up in the private despair and public pettiness of Madeline, Renata, Celeste, Jane & Co. that when the series reminds itself to tend to its crime-puzzle elements, it suddenly seems less special. Big Little Lies is still a must-see because of its extraordinary actors, all of whom bring either new shadings to the sorts of characters they’ve played brilliantly before or show new sides of their talent.
  2. There could be a precipitous drop in quality in the next few weeks, for all we know. But what’s onscreen here is intelligent, sensitive, and sure-footed, and altogether promising.
  3. Individually, the performances are terrific.... Bloodline presents itself so generically. You can get away with lousy dialogue, or underdeveloped acting, or common character types, or an unspecial visual style. Just not all of it at once.
  4. What sells the antics is the chemistry between its leads and the fun they’re so clearly having together.
  5. If you know what you're getting into, it's ghastly comfort food, reassuring in its way.
  6. Once it gets going, Channel Zero: Candle Cove smartly peels back additional layers of its central mystery so that the audience won’t be satisfied until they finally get to the core of what really happened in Iron Hill all those years ago.
  7. The cop stuff feels like it could be happening in any other NBC cop show; I kept expecting Prime Suspect's Maria Bello to show up in that cute hat. But given the originality on display, and the venue, those are minor complaints.
  8. While the scripts set up and execute various clever twists, they aren’t clever enough to allay concerns that the show is trying so hard to reassure viewers that they aren’t being force-fed a meal of high-fiber historical fiction that it’s overcompensating with eye candy.... It’s a gripping series but far from a great one, and there are bound to be more like it; in a roundabout way, this is progress.
  9. Family Tree is less belly-laugh funny than wry and occasionally poignant.
  10. A lot of the strong moments on the show resonated because of how much they reminded me of stronger moments on stronger shows.
  11. Gregg's the best thing in the pilot.... the pilot definitely has its moments.
  12. It's probably a mite too ridiculous for the dire tone it sometimes affects, but it's confident, verging on brazen, and one tends to respect that quality in entertainment.
  13. It's good again. Not great, but good: smarter than you expect, more patient with its storytelling, less interested in the characters' plotting and counter-plotting than in their often miserable inner lives.
  14. It's a prequel in which actors now in their 40s portray teenagers. And in the oddest move of all, it's actually good.
  15. This is one hell of a debut, and the last seven minutes are brilliant, hitting emotional notes that you might not expect.
  16. I was riveted--I highly recommend watching this show on the largest screen possible, in dark room, with no interruptions. But I didn’t see much evidence that the new Twin Peaks is going to pivot anytime soon and turn into the show that people remember, or think they remember.
  17. It’s really located at that dirty crossroads HBO discovered long ago, smart enough to be uninsulting, but obsessed enough (and graphic enough about) sex and wildness that it is addictively watchable, not so much a guilty pleasure as a binge food. Cable catnip, in other words.
  18. Its packaging notwithstanding, Jerry Before Seinfeld doesn’t feel much different than any other Seinfeld concert or talk-show appearance, except for the old photos, Seinfeld family home movies, and archival footage of young Seinfeld doing stand-up. ... Luckily, it’s a good collection of jokes and stories.
  19. The Sarah Connor Chronicles is mostly chase scenes. And very nicely staged they are, by director–executive producer David Nutter (Supernatural, Smallville), an adrenaline junkie equally adept at terrorizing a classroom, blowing up a city, rebooting a cyborg, or time-warping a bank vault.
  20. He has a light touch, and his camera's gaze is warm and kind. This movie is knowing, and sometimes ruefully ironic, without ever seeming smug.
  21. 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).
  22. Westworld is an adults-only drama with characters who seem a bit abstract and thin in the first couple of episodes but who grow more complex the longer you spend in their company.
  23. The movie is better than you've heard but not good enough to linger in the mind.
  24. This is a slight but watchable show, yet more brain candy from CBS's vending machine.
  25. This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
  26. Not enough of Breaking Bad was available for preview to decide whether the supporting cast will eventually satisfy as much as "Weeds" regulars like Elizabeth Perkins, Kevin Nealon, Tonye Patano, and Justin Kirk, but Cranston’s Walter is already a winner.
  27. It’s too early to say for sure, but the first episode of the first post-Martin season already feels more woman-friendly, indeed a tad warmer and more embracing overall, than the preceding 50 episodes, which could feel thrillingly atavistic and occasionally inspiring but also cold, manipulative, and needlessly vicious.
  28. This half-hour series works like gangbusters part of the time, seems puzzlingly disconnected from its supporting characters at other times, and elsewhere generates a laid-back but mesmerizing energy.
  29. There are times when it’s a little too relaxed for its own good, and it has trouble reconciling its wit and sexiness with bursts of harrowing violence that feel imported from a Quentin Tarantino movie (or a film by one of Tarantino’s imitators). But the sum total is so beguiling and unusual--for television as a whole, if not for Sundance, which specializes in this kind of storytelling--that it’s hard not to become entranced by it.
  30. While its early episodes are still working through a few kinks, it’s engaging enough to belong in the well-done category, too.

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