The New York Times' Scores

For 2,015 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Rectify: Season 4
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 968
  2. Negative: 0 out of 968
968 tv reviews
  1. It may seem ludicrous to say that a movie running more than six hours is well edited, but The Staircase, by Jean-Xavier de Lestrade, is. And not only is the editing prize-worthy, but the whole film is also so brilliantly conceived, reported, filmed and paced that you may come to wish it were twice as long.
    • 84 Metascore
    • 80 Critic Score
    Elvis Presley: The Searcher can’t escape the familiarity of its story. But it focuses, with purposeful tunnel vision, on Presley as a musician and performer.
  2. Don’t expect too much improvement too fast from Westworld 2.0. It’s still overly focused on balletic blood baths and narrative fake-outs, and much of the dialogue still sounds as if it were written as a tagline for a subway poster, like Dolores’s “I have one last role to play: myself.” But Westworld remains a glorious production to look at, and there are stretches where it feels invigorated by its new, expanded world--freer to breathe, relax, invent.
  3. Neither the character nor the show makes apologies for being old school. Bosch isn’t the best or most original series, but it’s honest and reliable, like Bosch.
  4. The show’s creative team--the writers Matt Sazama and Burk Sharpless and the showrunner Zack Estrin--has assembled these spare parts with more competence than the project really required, and in the first couple of episodes they achieve something that could fairly be called Spielbergian, or at least Spielberg-esque. ... Things subside pretty quickly, though, and the balance of the season is a formulaic and increasingly sentimental family drama.
  5. New Girl has amiably chugged along, hitting a few divots along the way but never sliding too far or permanently downhill. It’s one of the most consistent comedies in recent memory, so much so that almost any episode could be dropped in to any season. And these final eight episodes (six of which were made available to critics) are just like all the rest, even as the season premiere, “About Three Years Later,” jumps forward in time.
  6. Mr. Levinson lays this out with considerable skill and energy, but he’s not entirely successful at turning it into drama. There’s tension around the question of what exactly Paterno knew and when he knew it, and a late plot twist provides what appear to be some answers, but it feels tacked on.
  7. On the new version, very little has changed. The bubbly Paige Davis is back to host, as are many of the designers and carpenters, including Ty Pennington, who is effectively demoted from his antic “Extreme Makeover: Home Edition” days.
  8. Nothing has changed here--everyone is wiser, but not quite warier. Even if they’ve grown up somewhat--Ronnie jokes about GTB: “gym, tan, baby”--they’re experts at their jobs, happy to be hired once more.
  9. Warmhearted and perhaps imaginary adventures ensue, facilitated by the father’s identical twin (played by the always engaging Chris Diamantopoulos). If you like your nostalgia straight up, without “Stranger Things”-style monsters, it might be for you.
  10. On My Block has the off-center charm and quirky comic rhythms Ms. Iungerich is known for, but it has a problem that’s tied to its setting. ... The shifts from football game high jinks or a character’s apple-bong-toking abuelita to the question of whether to shoot another teenager in the head are disconcerting, to say the least.
  11. As a comedy, Alexa & Katie is about average, or a little below, if graded against the cable shows it resembles. But it’s a little more tough-minded than you might expect. The cancer theme leads to sentimentality, of course, but it’s also used to roughen Alexa’s edges.
  12. The result is entertaining, clever and darkly comic, anchored by Ms. Oh’s performance as an intelligence agent whose instincts and resolve have to make up for her inexperience and her tendency to scream like a terrified child in the face of danger. It’s in no way a disappointment, though it might not be as revolutionary or as subversive as its makers and its network would have you think.
  13. The formal inventiveness deployed by Mr. Hawley and his crew of directors, who include the noted cinematographer Ellen Kuras (“Eternal Sunshine of the Spotless Mind”) and the indie filmmaker Ana Lily Amirpour (“A Girl Walks Home Alone at Night”), is consistently impressive. It also consistently outstrips the storytelling. ... The sense of comic-book business-as-usual is more acute in Season 2.
    • 81 Metascore
    • 90 Critic Score
    A conceptual and artistic triumph. ... Some technical flubs and one mixed-bag lead performance aside, the production was genuinely thrilling, taking chances with the staging of a classic but controversial Broadway show, much more daring than previous live musical broadcasts like “The Sound of Music” or “Peter Pan.”
  14. There seem to be two different shows competing for space in the six episodes provided for review. One is a laid-back, affecting comedy about second chances; the other is a clunky mishmash of broad gags. You can see this in the pilot. It’s rough, but it contains the makings of better things.
  15. The drama picks back up with a strong trio of opening episodes. ... The actors simply do whatever their characters would do in that situation, and the camera watches them. Not a single shot calls attention to itself (even a surprising angle on Philip looking down through the open sunroof of his car has a tossed-off feeling), and the editing is unobtrusive, carrying us from point to point.
  16. Roseanne is a revival that’s willing to grapple with the time that’s passed rather than deny it. It’s feisty and funny and a little sad. And like that old couch you can’t throw out, it may just have a good year or two left in it.
  17. The Terror is like many polar expeditions: long, educational, full of interesting things to look at and not completely successful.
  18. The series, created by Mr. Hader and Alec Berg (“Silicon Valley”), ingeniously mixes wetwork and dry irony. ... You don’t expect this comedy to find its target in the way it does.
  19. The show’s appealing performers and catchy look don’t yet outweigh its lack of cohesion and its readiness to fall back on platitudes about the corrosive effects of wealth. “All the Money in the World” was a character study, but so far “Trust” is more of a caricature.
  20. [Chapman and Maclain Way] haven’t given it much of a shape or a perspective--they go from one mind-blowing event and image to the next, and seem to just adopt the point of view of whoever’s talking at the moment, reinforcing it with correspondingly bright or sad or triumphant music (which becomes increasingly intrusive). Their own attitude, as far as it can be divined, appears to be a credulous sentimentality. But it is a great story, even if you just turn on the camera and let it roll.
  21. The performance cues you to see Lou as blinded, maybe a little ridiculous. But the show, especially early on, treats him as a heroic inspiration. This dissonance with his character makes Rise feel at times like someone remade “Waiting for Guffman” in the manner of “Dead Poets Society.” The young cast is good to terrific, and Rise is better the closer it gets to the kids’ stories.
  22. The early episodes of the season make a lot of room for fairly static character development, with proportionally less attention paid to the traditional genre pleasures, like atmosphere and action, which were central to the first season’s invigorating noir-superhero synthesis. ... The apparent new villain is murkier in motivation, less overtly frightening and less charismatic. That’s the most significant onscreen change in the show, and it’s a bummer.
  23. While Champions specializes in of-the-moment allusions, part of why it gels so quickly is that its character mix is borrowed from the sitcom bible: “Cheers.” ... Champions is off to a promising start.
  24. There’s almost no conflict anywhere. The show radiates likability but lacks narrative bite, which makes it vanish from one’s mind the moment the episode is over.
  25. Everything about Diane’s progress within the firm feels fresh and vital; nearly everything about the Rendell family and its Ponzi scheme feels tired and formulaic.
  26. It is the same [as Season One]. And it is different. And that’s a wonderful, surreal, hilarious thing. ... Robbin’ Season is so good, it’s almost criminal.
  27. The result is a crisp, quickly paced and essentially ordinary crime procedural, with a surprising amount of fictionalization for dramatic effect and narrative convenience. ... The Looming Tower does benefit from good performances, including those of Mr. Rahim, Peter Sarsgaard as a querulous C.I.A. agent (seemingly based on the real-life Michael Scheuer) and Bill Camp as an F.B.I. gumshoe (a composite of New York-based agents).
  28. The resulting frying-pan-and-fire story line forces the three leads to confront how serious they are about being criminals. The problem, as enjoyable as Good Girls often is, is that it seems unsure how serious it is about being a crime story.

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