New York Magazine (Vulture)'s Scores

For 670 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 Justified: Season 6
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 384
  2. Negative: 0 out of 384
384 tv reviews
  1. The performances are superb from leads on down to cameo players, and in addition to showcasing a sureness of purpose that you’d expect from good actors who’ve been given strong material, you also feel a sense of elation in individual scenes.
  2. [Mirren] delivers big-time... Congratulations should also go to Nigel Williams, whose screenplay for Elizabeth I is as sassy as Tom Stoppard’s was for Shakespeare in Love.
  3. What makes GLOW enjoyable (if sometimes imprecise and irksome) is its willingness to mine the same bad and/or stereotypical situations that it’s critiquing for belly laughs.
  4. Curb Your Enthusiasm takes its own internal dare and does somehow manage to make us care about this world-class sufferer of impacted pettiness, with his endless bickering about the thermostat, the etiquette of blow jobs in cars, the horrors of vacuum-packed plastic.
  5. The cast is exceptional, never carrying themselves as if they are above the often confused, petty, or weak characters they portray; Shawkat in particular is a revelation, at times channeling the doe-eyed distress of Mia Farrow in Rosemary’s Baby. This is just a great show, refreshingly unafraid to twist the knife--a late-breaking candidate for best series of 2016.
  6. By refueling with the Madoffs, the show’s writers have brought a titillating jolt to the show’s by-now-established riffling of silvery, half-concealed trauma flashbacks. Even if, in the end, it’s nothing more than highly lacquered candy, it’s tasty stuff.
  7. With British accents and a refreshing dash of homoeroticism, it works nicely for a midsummer binge.
  8. High Maintenance stands out, not just because it’s on the front end of what is apparently a reefer TV trend, but because it’s so precisely made and has such an ambling, open heart.
  9. The early arc of season two is as interesting as anything on TV in ages--absorbing, complicated, textured. The composition of the show feels more stable, too.
  10. It's still the sort of show that makes you reach out to it, rather than reaching out to you--a characteristic that Treme shares with a good many of its characters, a mostly obsessive and intractable bunch who are inclined to monologues about art, work, family, mortality, and the characteristics of the perfect po-boy.
  11. Meanwhile, some remarkable television has been made. To report on a new generation of young warriors raised on hip-hop, heavy metal, and video games, Wright went to Iraq as Michael Herr before him had gone to Vietnam, like Dante to hell with a cassette recording of Jimi Hendrix.
  12. Just when you’re ready to break up with Love, it starts to works its magic on you, thanks to the charms of its cast and a suite of directors (Dean Holland, Joe Swanberg, Lynn Shelton, Maggie Carey, John Slattery) who have a knack for shining a light on the darker, comedic corners of human intimacy.
  13. Atlanta and Better Things take C.K.’s refinements to a new level, merge them with worldviews that you rarely see represented on TV, and tell their stories with such economy and grace that you might feel as if a new language were being worked out before your eyes.
  14. The new Netflix series Big Mouth is a frank, very funny coming-of-age story.
  15. This is my dream for all shows: that they have a clear idea; a way in which that idea is uniquely theirs; a cast that can give a rich, full life to those concepts; and the savviness to use both comedic and dramatic elements to explore and enrich those characters and the articulated world they inhabit.
  16. It is clear that The Good Fight is a very, very good show that’s worthy of commitment. If CBS wants its broadcast audience to also become habitual users of All Access, this smart spinoff makes for a pretty enticing gateway drug.
  17. With a calculation of word and image that’s almost elegant, Five Days gives us sociology and anthropology instead of shock and awe.
  18. Throughout, there’s a sense that ­Community is building, or rebuilding, toward something big and bold--that what you’re seeing is not so much a revamp as a restoration. Few live-action sitcoms are so aware of their artificiality and yet so ­singularly alive.
  19. The fourth hour immediately went on my list of the year's best drama episodes; at least half of it is eye-rollingly silly, but the other half is magnificent. Just when you think the Underwoods can be written off as comic strip political cousins of the Macbeths, they do or say something that's genuinely moving, and that makes you realize they have hearts after all, even though they're probably tiny and ice-cold, and only beat for one another.
  20. For all its comedy, this is a serious show, one that’s keenly attuned to the damage that women do to other women, and that men and women do to one another, and that the state does to its people before, during and after they go to prison.
  21. Yes, the conspiracy is well-crafted, and yes, it's an engaging critique of society in the way that lots of cool speculative fiction tends to be.
  22. Speechless shifts immediately into gear with zippy authority and a knowing sense of humor.
  23. Nothing shameful here, but nothing either to prize it above Ang Lee’s marvelous 1995 version. This new Sense is, in fact, somewhat of a drag.
  24. The biggest change is that the show is a half-hour, not an hour. Still, it's close to business as usual, or at least as usual as in the last several years. Still, it's close to business as usual, or at least as usual as in the last several years: It's still incredibly Elmo-centric, to the chagrin of those who preferred the more Big Bird–focused early years, though our fuzzy red friend grates less than the lavender fairy Abby Cadabby, introduced in 2006, whose true purpose remains unclear.
  25. Lights Out starts slower but has an even more intriguing anti-hero dad: Patrick "Lights" Leary (in a beautiful and subtle performance by Holt McCallany), a retired heavyweight champion with itchy fists.
  26. Juarez, is unfortunately the weakest of the episodes.... Next week's follow-up, Libya--directed by Abdallah Omeish--is in the same vein. But like the other three episodes of Witness, it runs an hour and merges its disparate parts more smoothly.... The third installment, South Sudan, is even better.
  27. This is the sort of series that makes difficult things seem easy, so easy that you often don’t realize how artful it is until you think back on it.
  28. These subplots aren't inherently dull, but they're not as compelling as the sight of a singer belting a new ballad while its authors and their patrons look on.
  29. The Hour has never pretended to be anything other than a very classy potboiler filled with attractive people, one that puts its heroes into predicaments that wouldn't be out of place in a silent film while sneaking social and historical commentary into the margins.
  30. This isn’t a story show, it’s a vibe show, simply told but not simplistic, confident but not overbearing. It’s a pleasure to enter this world, a pleasure to watch these magnetic actors ping-ponging the dialogue, a pleasure to watch McGuigan’s camera float through Stokes’s nightclub, a pleasure to see Colter posed against skylines like an onyx god.

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