The New York Times' Scores

For 1,371 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 5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 640
  2. Negative: 0 out of 640
640 tv reviews
  1. Damages borrows heavily from the front page, and that keeps it interesting.
  2. Bored to Death is as idiosyncratic and delightful in its own way as “Curb Your Enthusiasm."
  3. Little Dorrit is as rich at the margins as at the center with strange, and strangely believable, characters from almost all levels of society, rendered in quick, firm strokes.
  4. Huge imparts lessons while avoiding the tenor of an instructional, and in many ways it feels like a hybrid of two distinct eras of adolescent television, one marked by a heartfelt languor and the other by a media-fluent sarcasm.
  5. There is, admittedly, a fine line between being hilariously perceptive and just plain, even objectionably, silly. While habitually teetering on that line, 'The Simpsons' has shown a remarkable ability to come down on the right side most of the time.
  6. The current season, exquisitely plotted so far, deals in part with the repercussions of outing.
  7. There are shades of “True Blood” and “Being Human” here, and you hope that the show doesn’t drift away from the everyday dilemmas of the Walkers, who are excellently portrayed by Mr. Newberry, Harriet Cains (Kieren’s no-nonsense sister) and Marie Critchley and Steve Cooper (their parents).
  8. The list of people who have been reviled and labeled, explicitly or subtly, as something less than human is long: blacks, Jews, foreigners, people with AIDS, people with disabilities. Zombies notwithstanding, this appealing series, created and written by Dominic Mitchell, works this territory as credibly as any more conventional drama.
  9. Reaper is not at all grim; it’s actually quite rewarding.
  10. This HBO adaptation of her Pulitzer Prize-winning novel of the same title is so respectful and gracefully done that big inventions and small omissions don’t stand out or disappoint.
  11. Oz can also be unpleasant to watch, it is so gruesome and claustrophobic. Yet over the first few weeks, as the series moves beyond its introductory shock value, it becomes more serious, disturbing and gripping.
  12. Maron may not have the depth and adventurousness of “Louie” or the crude energy of Jim Jefferies’s “Legit,” but it’s consistently well written (or improvised) and smartly cast.
  13. By 1:20 p.m. the series's third season is already as tightly coiled, clever and suspenseful as the first two. [28 Oct 2003]
    • The New York Times
  14. The next-best thing to "The Wire."
  15. Little is off limits in terms of subject matter either; in two of the first three episodes people with disabilities are the focus of pivotal jokes. But it’s a mark of the show’s intelligence that in both cases it is Will who ends up humiliated.
  16. The writing is smart and the episodes well structured, but much of the credit goes to Mr. Kinnear, who maintains a veneer of charm without stinting on his character’s underlay of seedy desperation.
  17. A succinct and well-conceived documentary.
  18. The story of Ned (Lee Pace), a young man who can bring the dead back to life, is sweetly odd, but also oddly charming.
  19. In the beginning, this program feels like old news (one generation has seen it all before, and the other doesn’t care), but the narrative quickly comes together and still has the power to astound.
  20. Alicia’s shock and her sense of surreal detachment, is as vivid a depiction of personal crisis as any on television. But after this cleverly written series deconstructs the exact moment when everything falls apart, it imaginatively explores how one scorned spouse struggles to get past a life-shattering scandal.
  21. CW's Oh Sit!, a raucous competition show is a hilarious return to the childhood you never had--the fun, danger-filled, almost-anything-goes one.
  22. Sometimes this focus on technology feels a bit heavy-handed, but in general this is a series that seems to be growing more assured as it goes along.
  23. The plot twists of The Hour can at times be puzzling, but the series is never dull.
  24. Upstairs Downstairs sticks to the rules established by the original and defies the odds by being as good, and in some ways, even better.
  25. While this new show is not as innovative as its predecessor ["Murder One"], it is, in its own way, similarly well paced and compelling.
  26. Today’s children will certainly find it watchable and will have better language skills after spending time with it. They just aren’t likely to still be holding it in their hearts 35 years from now.
  27. The series is a clever update, not to say rip-off, of “The Mary Tyler Moore Show,” set behind the scenes at an NBC comedy show rather than in a television newsroom, and it is very funny.
  28. There is a slow-growth, artisanal quality to the franchise, and the series, which stars an excellent Jill Scott as Precious, remains true to it. Anyone impatient with languorous pacing on television is at orange-alert risk of feeling fidgety.
  29. Both “Bored to Death” and Curb Your Enthusiasm have heroes who are hell-bent on doing the impossible and are doomed to fail. And it’s impossible not to prefer them just as they are.
  30. Louie is a comedy that seeks to provide something besides laughter. Louis C.K. will try anything, and not everything works. But it’s the willingness to defy expectations and experiment that makes Louie special.
  31. Staking out a distinctive place within the genre isn’t easy. Penny Dreadful tries to do so with a combination of literary allusion, fine acting, patience and fearlessness, which, at least for the first two episodes, clicks deliciously.
  32. The challenge with any extended zombie narrative is striking the right balance between gut-munching action and undergraduate philosophy seminar, and the first two episodes this season are pretty talky.
  33. The presentation is familiar, maybe a little too familiar, by now: actors reading journal entries; vintage photographs lovingly panned; historians adding commentary.... But Mr. Burns, cutting between [Theodore and Franklin's] life stories, probes the intersections with playful insight.
  34. Vikings is a mini-series about a band of professional pillagers with a disregard for human life and a relentless focus on gratifying material desires. So it is somewhat surprising that it is also a refreshing study in restraint.
  35. The documentary doesn't pretend to be anything other than a homage to a good man who served his country well in war and peace.
  36. Ambitious setups like this don't always hold up, but Revolution has the potential to be a more disciplined "Lost"--not necessarily more plausible but with any luck less preposterous and pretentious.
  37. The premise sets it apart, the premiere promises a lot of plot wrinkles and a fast pace, and the acting (with a few exceptions) is decent.
  38. While High School Confidential has its flaws--it is choppily edited and far too spare in its depictions of the girls living rather than talking--it does us a service by portraying teenagers beyond the media’s typical parameters of exceptionalism
  39. The funniest bits rely on incongruity rather than vulgarity. But even the crude stuff has a silver lining.
  40. Even familiar plot points are told in the expertly spooky Bruckheimer style.
  41. The series got its start on the Internet and is more linear, unpolished and narrowly comedic than “Girls” on HBO--Abbi and Ilana are so feckless that they make Lena Dunham’s Hannah seem like Warren Buffett.
  42. Mr. Meyers was at ease and disarming in his new role as a talk show host.
  43. There's something stylishly scary at work here.
  44. "Modern Men" is funny, but it is actually all about role reversal, depicting an imaginary world in which young men are as deeply concerned about their love lives and future spouses as women are.
  45. This Jane is not as morally spent and self-interested as Ms. Mirren's character, but she has an unusual and appealing roughness around the edges.
  46. If "Laguna Beach" looked perpetually like late afternoon -- the mellow light of cocktail hour, the promise of a party -- "The Hills" looks like a workday.
  47. There’s plenty to laugh at here.
  48. It is very good at allowing viewers to feel superior.
  49. Blue Bloods has an old-fashioned appeal both as drama in the vein of a workingman's "Dynasty" and as splashy procedural.
  50. Whatever you might think of the group’s beliefs and belligerence, these sailors give great sound bites.
  51. It has one of the most talented actresses on television as its lead, and yet over all Nurse Jackie is surprisingly, and disconcertingly, off key. This is a drama draped in black humor that doesn’t know when to be funny.
  52. It’s an enjoyable, straightforward espionage tale without a lot of twists or extra layers.
    • 70 Metascore
    • 70 Critic Score
    Like so much British science fiction, especially Douglas Adams's "Hitchhiker's Guide to the Galaxy" series, this "Doctor Who" has a goofy, homemade quality; it's less interested in gizmos than in characters.
  53. The premiere episode tends to lapse into a "You go, girl" mode typical of shallow treatments of disability, with fist-pumping and treacly background music.
  54. Though the show is a drama, it is served up with a droll comic sensibility that is a refreshing change.
  55. Icy-dry satire laced with moments of farce and inspired lunacy.
    • 65 Metascore
    • 70 Critic Score
    The Bronx Is Burning succeeds because of the mutually-assured-destruction brand of combustibility among its lead characters - there is something of “Barbarians at the Gate” in the gleeful madness of the Yankees plot - and because of the incidents that the writers and director choose to recreate.
  56. 'Unscripted' is a small thing, but it has funny and clever moments. [7 Jan 2005]
    • The New York Times
  57. The half-hour Juarez, on Monday night, is a bracing, at times mesmerizing introduction to the Witness series.... The subsequent films are each an hour long, and while all have powerful material, particularly the South Sudan chapter, they're also more diffuse and more prone to sentimentality about the violence and social disorder the photojournalists bear witness to.
  58. Would You Rather ...? With Graham Norton on BBC America proves that a fair amount of fun can be generated simply by putting people in chairs and letting them crack wise.
  59. These images will stick with you. But so will an overall sense that Frozen Planet is more--a lot more--of the same: an aestheticized, sentimentalized, anthropomorphic abstraction of the natural world, in which gentle soundtrack music, winsome narration (by Alec Baldwin, replacing Mr. Attenborough for most of the American version) and the judicious use of slow motion combine to put us in a pleasant stupor on the couch.
  60. Things could go either way. If Mr. Endicott, Mr. Stoddard and their colleagues can exercise more consistent quality control, there might be another round of financing in their future.
  61. As might be expected with any Gary David Goldberg product, Spin City is smart stuff. The one-liners zing, Mr. Fox and company are disarming and the 22 minutes flow by effortlessly. The only snag is that concept of spin. Are those who toy with the truth all that funny?
  62. When Zach is performing for the cameras, he’s hammy verging on pathetic, as if he’s starring not in a reality show but a sketch-comedy show about someone with deep feelings of inadequacy..... He’s at his most personable and affectionate when he thinks he’s shooed away the cameras, which are of course still filming, in a more vérité style.
  63. The story is not surprising--almost every turn seems obvious and a little hackneyed--but it is surprisingly enjoyable.
  64. Clerk Terryn Buxton is the seemingly unsuspecting source of most of the show's laughs....He's also the avenue for the note of moral reproof that inevitably seeps into what is a mostly straightforward show.
  65. This Good Marty/Bad Marty dynamic may prove more fruitful for the show in the long run than the well-worn punching bag that is corporate America.
  66. [A] low-key but charming NBC comedy.
  67. "Threshold" holds back more than it reveals, and that is the right contingency plan for a successful science fiction thriller.
    • 58 Metascore
    • 70 Critic Score
    Played straight, it would surely be tiresome. But presented as an off-kilter spoof, and draped around a winningly drawn central character, the premise has promise.
  68. The series is bold in its candor and unhurried attention to detail, but not quite brave enough to lay bare the bleakest, pettiest injuries that can scar a marriage.
  69. The ending mars what is otherwise a handsome and well-written effort, with good supporting performances.
  70. Some of the jokes work, and some of the frights are actually scary, and on a repeat viewing the craftsmanship and attention to detail made more of an impression.
  71. Mr. Weintraub is a genial, garrulous interview subject, rattling off anecdotes about Colonel Parker, Sinatra and Pat Morita, and Mr. McGrath supplies lavish film clips of 1950s, '60s and '70s New York, Las Vegas and Los Angeles. It's not a vanity project, but it's the kind of deluxe package Jerry Weintraub has spent his life working relentlessly to assemble.
  72. Mr. Trudeau has a feel for not just political hypocrisy but also character, and this cast manages to bring life and even some charm to these Capitol Hill caricatures. Alpha House is not yet as sharply honed as “Veep,” but it could get there; it certainly has plenty of material to work with.
  73. A lighthearted, quite charming medieval adventure series made by the BBC, is tailored to the age of Obama.
  74. A reasonably entertaining though not exceptional science-fiction adventure series with a wild conspiracy plot whose hook is cloning.
  75. The story lines and characters are layered and more intricate than in most detective series.
  76. The many layers of feints and puzzles are compelling, but it’s hard to see how they can last more than a season or two.
  77. Mr. Kring has assured interviewers and fans that the third season will correct those mistakes and recover the fast-paced suspense and tension of the first season. The premiere episode lives up to that pledge, with lots of violence, special effects and laser-fast editing. The plot and ever-escalating conspiracies are hard to follow, but even first-time viewers can easily get the gist.
  78. An able cast led by Andie MacDowell and Dylan Neal makes it stand out from the stream of interchangeable Hallmark movies that aim for the same tone and audience.
  79. The many layers of feints and puzzles are compelling, but it’s hard to see how they can last more than a season or two.
  80. The series is smart and engrossing, though not in a particularly novel way, and that is not a bad thing.
  81. The Musketeers is an old-fashioned reinvention that is faithful to the spirit of the novel even as it changes the words.
  82. Americans accustomed to the fast pace and big laughs of network sitcoms will more than likely give up on these quieter, less eventful British counterparts within five minutes. Patience has its small rewards, though.
  83. “Weeds” is still an outstanding show, but it would be better if it didn’t push so hard to stand out.
  84. It's fascinating, frightening and more than a little exploitative, just like boxing itself.
  85. What really sets Key & Peele apart are the stars’ performances.
  86. It's an enjoyable, intriguing look at what can happen to a group of ordinary, cash-strapped people who wake up one day as multimillionaires.
  87. It is surprisingly appealing. Talk shows depend less on the topic at hand than the chemistry in the room, and The Chew has tapped five very different and amusingly mismatched hosts.
  88. A spunky upgrade over the collection of interchangeable police procedurals clogging the television schedule.
  89. While the new series may not stand out at this point, it’s already a better-than-average cop show, well paced, with reasonably snappy and believable dialogue.
  90. What the show lacks in this kind of irreverence it makes up for in plain old addictive soapiness.
  91. The first two episodes are relatively restrained by Luther standards, with an emphasis on plodding police work, while the case against Luther percolates in the background. Neil Cross still delivers the dread, though, as killers pop out of attics, closets and even closer places. The action picks up in the season’s second half.
  92. Ms. Coughlan somehow manages to lay low in the part and let supporting actors propel the comedy.
  93. Ultimately it's a fairly standard TV movie, if an overly long one, ending on a note of sentimental affirmation and, luckily, offering one outstanding central performance.
  94. The program has a fair amount of feel-good filler about the bond between the dogs and their handlers, but when it comes to showing these pairs at work, it is blunt and disturbing.
  95. Season 3 begins with both ACN and Mr. Sorkin in a tamped-down, focused mode. That’s generally a good thing.
  96. Cold Justice picks up considerably in its second episode and seems as if it might be a worthy addition to the genre.
    • 67 Metascore
    • 70 Critic Score
    Too Big To Fail uses every cinematic trick in the book, but ultimately succeeds because we know that the danger was real.

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