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. Contemporary TV is suddenly filled with shows starring charismatic yet ostentatiously flawed heroines: Homeland, The Mindy Project, Girls, Don't Trust the B---- in Apartment 23. Enlightened stands out because its vision is so much wider.
  2. 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
  3. Louie is the anti–Anger Management: bizarre, inventive, and bold.
  4. Splendid television.
  5. Best of all, we seem to be done with the weakest element of the series, those abusive-hillbilly flashbacks. Instead, we've been left with a Madonna-whore set of blondes: all-embracing Anna and her icy counterpart, Betty of the Little White Nose in the Air.
  6. Some of the encounters evoke the returned abductees in Close Encounters of the Third Kind, while others have the nasty, bone-deep chill you associate with John Carpenter’s stalk-and-kill classics. Beneath it all is an air of existential dread. The universe is out of order. Life itself has gone haywire.
  7. Transparent's major achievement is putting itself on the map.
  8. 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.
  9. Sherlock is a wonderful series. Just thinking about it makes me smile.
  10. The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
  11. 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.
  12. 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.
  13. 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.
  14. The problem isn’t the sentiments but the clunky way they’re expressed--as if the writers are reserving the good dialogue for the regulars, along with the empathy.... The missteps are easy to forgive because, in content as well as form, ­Orange is a modestly revolutionary show.
  15. Raylan Givens is off his game, but Justified is as sharp as ever.
  16. We stay interested because executive producers Graham Yost (Speed) and Jon Avnet (Fried Green Tomatoes) know what they're doing and have conscripted a crackerjack cast to do it.
  17. 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.
  18. In these last innings, as The Wire ties up its gnarled threads, it also makes its most daring departure yet, introducing yet another institution, and a brand-new cast of characters to disappoint us.
  19. The best of the new fall sitcoms.
  20. 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.
  21. 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.
  22. [The first three episodes] contain no evidence that it'll rival or exceed season four, an intricately wrought and unexpectedly spare and bluesy batch of hours whose quality exceeded anything that Terence Winter's gangster saga had given us in seasons one through three.
  23. It should still be said, however, that pretty good Burns is pretty great, provided you more or less agree with his take on things.
  24. 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.
  25. [A] clever, at times tricky season opener. In Lost-like style, it strategically withholds key information that would help us make immediate sense of Don’s behavior, which by turns suggests a prisoner, a sleepwalker, and a ghost.
  26. It's the most engrossing cop series since season one of NBC's Homicide, and maybe the most raggedy and real.
  27. A triumph of writing, directing, and acting.
  28. From the moment I saw the pilot of Girls, I was a goner, a convert.
  29. 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.
  30. For the most part, though, what we see and hear is all we’re allowed to know, and it’s enough, just as the accumulation of moments in a fly-on-the-wall documentary are enough to make us feel for the subjects.

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