New York Magazine (Vulture)'s Scores

For 599 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Leftovers: Season 3
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 333
  2. Negative: 0 out of 333
333 tv reviews
  1. The first few episodes sent out for review are the most satisfying to date. Season three moves away from the colorful but ultimately tedious power-tripping of seasons one and two--Frank Underwood is underestimated; Frank Underwood wins; yay, Frank!--and becomes more of a political procedural.
  2. While the first four episodes of this series go a long way towards re-imagining its inspiration, I wish it had thought harder and found the courage to be even wilder and weirder.
  3. Everybody... will love Betty as much as her widowed father does.
  4. Boss' mix of deft footwork and bull-in-a-china shop clumsiness can be off-putting, but it's always anchored by Grammer's alternately scary and mournful lead performance, and you're never in doubt that there's a fully formed sensibility behind it.
  5. Far From Finished isn’t an instant classic on the order of Bill Cosby: Himself or his stand-up albums Revenge, Why Is There Air?, and Wonderfulness. It’s more like a pencil sketch by a master painter or a late film by Woody Allen or Clint Eastwood.
  6. Not since Deadwood has a period-drama production designed to a fare-thee-well and steeped in nasty atmosphere been so politically astute about who has power over whom and why--although the subtler brand of gallows humor and Soderbergh’s fondness for intricately choreographed long takes aligns The Knick with a different TV classic that Deadwood creator David Milch worked on, Hill Street Blues.
  7. Queen Sugar takes its sweet time moving through a moment, lingering where other series tend to sprint, and it is generous with its searching close-ups of faces and hands and its images of the Louisiana countryside at dawn and dusk, an enchanted-seeming landscape of furrowed fields and gnarled, kudzu-covered trees. At its most navel-gazing, the show feels like Parenthood by way of Eugene O'Neill. But tell me you don't want to watch something like that.
  8. It's competently assembled but ultimately sort of hollow.
  9. The show is perfectly cast, and it certainly seems like there's plenty of story to be had.
  10. There's a sweetness to the series, an almost admiration for the various crummy behaviors.
  11. Problem is, these same episodes lurch between nuanced observation of real-world trivialities and goofy sketch comedy exaggeration, and their flashes of spiky personality don't alleviate the feeling that, content-wise, the show is stuck in that regrettably familiar commercial cable bind: not safe, exactly, but not dangerous, either.
  12. The show is more successful when the Donovans are interacting with rich or otherwise spoiled people than when they’re dealing with their own problems, because the problems, however sympathetically written and acted, are a potluck stew of elements you’ve seen in other stories about South Boston Irish-Americans.
  13. “What’s there not to love about the town of Stars Hollow?” the song asks, in what is both a sincere question and, perhaps, a swipe at the place’s provincialism. While watching Gilmore Girls: A Year in the Life, you may find yourself asking the same thing, and you may conclude that there is still plenty to love. But you also may find yourself looking more critically at this Main Street, U.S.A., and more easily spotting some of the flaws that co-exist alongside its charms.
  14. 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.
  15. 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.
  16. 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.
  17. What sells the antics is the chemistry between its leads and the fun they’re so clearly having together.
  18. If you know what you're getting into, it's ghastly comfort food, reassuring in its way.
  19. 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.
  20. 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.
  21. 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.
  22. Family Tree is less belly-laugh funny than wry and occasionally poignant.
  23. A lot of the strong moments on the show resonated because of how much they reminded me of stronger moments on stronger shows.
  24. Gregg's the best thing in the pilot.... the pilot definitely has its moments.
  25. 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.
  26. 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.
  27. It's a prequel in which actors now in their 40s portray teenagers. And in the oddest move of all, it's actually good.
  28. This is one hell of a debut, and the last seven minutes are brilliant, hitting emotional notes that you might not expect.
  29. 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.
  30. 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.

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