New York Magazine (Vulture)'s Scores

For 346 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 2.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Hannibal: Season 2
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 179
  2. Negative: 0 out of 179
179 tv reviews
  1. The first five hours feel more soapy than salacious.
  2. 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.
  3. Reaper is strictly for fans of movies like Superbad.
  4. The unnecessary reimagining from executive producer David Eick, is a lot darker than the 1976 original
  5. Which isn’t to say that State of the Union is merely wicked fun, mean games, and goofy looks. Ullman’s America needs work.
  6. This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
  7. Like Huck and Jim, or Ishmael and Queequeg, Crusoe and Friday embody the triumph of homoerotic male bonding over the steeps of race, culture, and ethnicity.
  8. The series is primarily goofy formulaic fun, and so far, Katic is no Deschanel, but like its twin, the series uses that shockingly durable Remington Steele DNA--peacock dude, furrowed-brow femme--to build neat puzzles out of human suffering.
  9. 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.
  10. Both the new actor and the revamped series take some getting used to.
  11. The movie is better than you've heard but not good enough to linger in the mind.
  12. Missteps are balanced by bits that ring oddly true.
  13. It's the new Revenge, but so much goofier and more shameless that it makes Revenge look comparatively measured.
  14. 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.
  15. 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.
  16. It's knowingly dumb and aiming for smart-dumb, and over time it might get there.
  17. 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.
  18. The weak link is Jesse Bradford's Chris.... The other couples are more humanely drawn. Because they make emotional and psychological sense, the chirpy sitcom banter goes down more smoothly.
  19. 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.
  20. Still, for all its flaws, this is an intriguing show, packed with atmospheric details and Easter-egg-style grace notes.
  21. 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.
  22. Arrow is sincere and energetic but visually undistinguished.
  23. 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.
  24. 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.
  25. 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.
  26. Broadchurch excels at showing the awkward moments between the briskly delivered plot points, and the small details of voice and gesture that define communities in mourning (or guilty panic), and it has the good sense not to overdo anything.... And yet there's something fundamentally unsatisfying about the whole thing, as smart and intricately structured as it is--and it has nothing whatsoever to do with any writing or acting or filmmaking issues, and everything to do with the fact that we've just been to this particular narrative well too many times in 2013.
  27. Derek is engaging and sometimes very funny. Parts of it are ostentatiously sentimental, verging on gooey.
  28. So, concept, story, dialogue: just okay. Cast: outstanding. Sean Saves the World is on my "wait and see" list for sure.
  29. Meyers's first monologue was all down-the-middle one-liners, delivered in the exact "Weekend Update" cadence.... Meyers settled in more once he sat down at his desk.
  30. A series that’s not as impressive as its lead actor’s performance.

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