New York Post's Scores

For 980 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Luck: Season 1
Lowest review score: 0 Worst Week: Season 1
Score distribution:
  1. Mixed: 0 out of 719
  2. Negative: 0 out of 719
719 tv reviews
  1. Hannah’s finally growing up, and how she deals with the inevitable betrayals of people she placed too much trust in will provide Girls with a worthy season arc--and give the aspiring novelist inside the hipster some real material to come.
  2. The locales are great, the plots are interesting and the acting for the most part is good--although they should have cast actors who don't look like lingerie models.
  3. Lots of fun, lots of laughs, lots of good, heartwarming plots.
  4. The season's first episode is pretty damned riveting.
  5. Problem is that Episode 1 is so out there and over-wrought that you might not make the trip back for Episode 2. That would be a mistake. Week two is when it gets riveting.
  6. Cosby’s gentle humor is a bit long-in-the-tooth.
  7. Great, great, great drummer, but a dull, dull, dull show.
  8. Lots of fun--and I for one am thrilled to see a show in which most of the characters don't look like they took time off from modeling to act.
    • 75 Metascore
    • 50 Critic Score
    The Walking Dead rewards patience and loyalty with the occasional arresting visual and edge-of-your seat intensity.
  9. Good premise, good start.
  10. Having established the exaggerated and predictable weirdness of all white people, Fresh Off the Boat seems to have run through its one topic--and one joke.
  11. Too bad the premise doesn't feel real.
  12. With an impossibly good cast, writing so spot-on it's poetic, and slow-build stories, I, for one, was left wanting more--even after watching the entire season.
  13. Great fun, good personalities and some fine food. All in all, the start to another good season(ing).
  14. The Lebowitz film, Public Speaking, directed by Martin Scorsese and produced by Graydon Carter--combines hilarious, contemporary interviews with Lebowitz about life in NYC, mixed with old clips of her in the Andy Warhol days, and great clips of her appearances on old talk shows.
  15. What would you get if you combined the brains behind "The Usual Suspects" and "The X-Men" with the writer of "Quiz Show" and "Homicide: Life On the Streets"? Aside from a lotta smarts, you'd get House, the best new show since "Lost." [16 Nov 2004, p.91]
    • New York Post
  16. An outstanding documentary.
  17. Don't believe the hype. "Studio 60 on the Sunset Strip" is not the best new show of the fall season. It's a pretty darned good one, but not the best one.
  18. By the second part of this excellent thriller you won't know who are the bad guys and who are the really bad guys, which is how it's supposed to be.
    • 75 Metascore
    • 70 Critic Score
    Regardless of its flaws, Grease is a reason to look forward to the next round of live musicals on TV. When it finally found its stride during “Born to Hand jive,” which was among the finest staged sequences of any live musical telecast so far, the hate-watching subsided and suddenly we were all back in high school again.
  19. Great acting, writing and direction.
  20. The best detective show to come along in, well, decades...It is so clever, that it makes you remember how good TV used to be - and still can be when they use actors who didn't train at Ford Models. And when they hire writers who can actually put two words together...I promise you, you've never seen anything quite like it. [11 July 2002, p.73]
    • New York Post
  21. There's never a light moment to let you reflect on the violence that you've just witnessed, which brings "Brotherhood" back to the level of every not-great gangster flick that's ever been.
  22. ABC is as unworthy of "Bob" as it is in desperate need of it - and clueless about how to support and promote it. [4 Aug 1998, p.78]
    • New York Post
  23. An all-star cast--Reese Witherspoon, Nicole Kidman, Alexander Skarsgard, Shailene Woodley and Laura Dern, all of whom live up to their advance billing--and an absorbing story (courtesy of TV vet David E. Kelley) that will keep you guessing each and every step of the way.
  24. The few plot lines that don't revolve around her sex appeal--such as her older daughter becoming everything-aphobic, Eddie becoming crazy, and Dr. O'Hara (Eve Best) moving at warp speed on her self-destruction path--are all so interesting, it makes you long for more.
  25. The script, by Berlanti, Ali Adler and Andrew Kreisberg, is a by-the-numbers affair that offers the character’s origin story up front, introduces the villain at just the right moment, throws in the requisite unexpected complication at the three-quarter mark and saves one twist for the final moment. Yet, there are some redeeming, clever touches, primarily whenever Kara (Melissa Benoist) has a scene with Cat Grant (Calista Flockhart), her obnoxious media-mogul boss.
  26. If the "opening statements" don't have you on the floor calling for a back brace--because you've thrown your spine out from laughing--then you are either in a coma or watching a different channel.
  27. It's mentally exhausting, at least in tonight's opener, to figure out exactly what the heck is going on here, and in which reality we're placed at any given moment.
  28. It helps to be a fan of Christopher Guest--the genius mockumentarian responsible for movies like “Best in Show” and “Waiting for Guffman”--if you’re going to love his new HBO series, Family Tree.

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