The New York Times' Scores

For 1,410 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 5.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Gideon's Crossing: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 661
  2. Negative: 0 out of 661
661 tv reviews
  1. The Killing is as bleak and oppressive as any, but it's so well told that it's almost heartening.
  2. Irresistibly, corrosively funny.
  3. An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
  4. All the actors are wonderfully credible, even when forced to deal with the occasional creaky line. (Brenda says Nate doesn't know her, and he answers, "Yeah, because you won't let me.") Freddy Rodriguez adds humor as Federico, so talented at restoring corpses that he puts the Humpty Dumpty who was chewed up in the mixing machine back together. And Ms. Conroy's portrayal of the mother is subtle, funny and painful. [1 June 2001, p.E25]
    • The New York Times
  5. "Family Guy" stands to become the best satire of all-American dysfunction next to "The Simpsons." [29 Jan 1999]
    • The New York Times
  6. Ed is a throwback, a hopeful, pixilated Capra character who wants to believe that things will work out as they should and is genuinely baffled and disappointed when they don't. Yet "Ed" the show doesn't seem creaky because Ed the character has also been endowed with ironic self-awareness, as might be expected on a series created by the men behind "The Late Show With David Letterman." He does wonders for both lawyers and bowling.
  7. A crackling-sharp spinoff...The show swiftly finds its balance. Not every series lends itself to cloning, but the essential qualities of "Law and Order" seem made for it: headline-generated stories resolved in self-contained episodes; a no-nonsense tone; a cast large enough to vary the focus.
  8. The Missing is imaginatively written, well cast, chillingly believable and quite addictive. This kind of story has been told this way before, but somehow that doesn’t make this telling any less compelling.
  9. The remake has everything that those earlier versions had and something more: Tracey Ullman and Carol Burnett together and at each other's throats.
  10. Had it arrived 10 or 15 years earlier, when long-form narrative was not the dominant form on cable television, it would have been felt, arguably, more as an explosion than a trickle. The series has at least so far failed to find a large audience, indicating perhaps how much we have come to take good serial drama for granted.
  11. While it is quite silly, it's silly in a clever and engaging way, which is the signature style of its creator, Matt Nix.
  12. "Everybody Hates Chris" is the first show in a long time centered on a teenager whose main problem is not adolescent angst, but real life. And Mr. Rock makes it funny, not maudlin or mean.
  13. The documentary is a loving tribute to his personal charm and other talents.
  14. Rosemary’s Baby bends to current fashions, and, accordingly, is more straightforward and much gorier than the original film. But partly because the story has been so altered, it still has mystery and suspense.
  15. Five Days, made by the BBC and HBO, is riveting because it weaves the most familiar milestones of a major homicide investigation--the news conferences, police interrogations and family meltdowns--into a less predictable and intricately layered narrative that averts clichés without diluting the suspense.
  16. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  17. The advice here is to forget the politics and enjoy the performances and the trip back in time.
  18. Previewing the songs may be enough to draw Foo Fighters fans. For everyone else, Mr. Grohl provides, through interviews, archival clips and his own narration, a musical and social history of the city that’s both surprisingly detailed and decidedly personal.
  19. With some delicious comic touches, Quantum Leap is slyly offering two cheers for the "sensitized" man of the 1980's. Sam even managed to phone his beloved father, who had died in 1974. The experience left him with tears streaming down his face. Mr. Bakula (''Eisenhower & Lutz,'' Broadway's ''Romance Romance'') pulls all of this off with skillful charm. He could easily get away with devouring an entire quiche. [30 Mar 1989, p.C24]
    • The New York Times
  20. This inventive sitcom is hilarious.
    • 72 Metascore
    • 80 Critic Score
    The supporting cast is very strong--Tony Hale (perhaps best known for "Arrested Development"), in particular, excels as Selina's goofy and limpetlike personal aide--the various internecine plotlines are building well; and no one is allowed to riff uncontrolled.
  21. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  22. Once the show gets going, and it takes more than one episode to do so, The Leftovers bores into the characters and the fissures that crack their community so astutely that the cause is almost secondary.
  23. This show is smart and rigorous, with a concentration that bores deep without growing dull.
  24. It’s a dizzying reprise, and also a dazzling one.
  25. They practice the comedy of female semi-empowerment, in which confidence (tending toward narcissism) and a still somewhat startling sexual frankness combine with old-fashioned insecurity and self-abasement, all of them generating laughs.
  26. The script, by Amanda Coe, has a dexterous sense of fun.
  27. The smooth telling of Russo's story juxtaposed against the present day, when gay marriage is sanctioned in some states and gay characters are all over prime-time television, drives home how different the cultural landscape is from the one Russo knew.
  28. By using a celebrity as a Trojan horse, Teach offers an engaging and intimate look at just how complicated and difficult teaching can be at a large, urban public high school.
  29. Questions of innocence are established fairly early in the far more appealing of the legal dramas beginning on Wednesday: The Defenders on CBS. Here the love connection is unambiguously platonic and winning.

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