The New York Times' Scores

For 1,561 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 4.5 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 739
  2. Negative: 0 out of 739
739 tv reviews
  1. While there are some deeply disturbing images, The Honorable Woman is an astute, sensitive and at times delicate psychological drama that is evenhanded in the nonincendiary sense of the word: No side is entirely to blame, and there are villains, innocent victims and foolish dupes on both sides.
  2. 'Roseanne' is off to a terrifically hilarious start.
  3. Mad Men beguiles like a Christmas catalog of all the forbidden vices, especially smoking, drinking and social inequity. Yet the series is more than a period piece. It’s a sleek, hard-boiled drama with a soft, satirical core.
  4. The year's most substantial new series. [7 Oct 1991]
    • The New York Times
  5. The Killing is as bleak and oppressive as any, but it's so well told that it's almost heartening.
  6. Irresistibly, corrosively funny.
  7. An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
  8. 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
  9. "Family Guy" stands to become the best satire of all-American dysfunction next to "The Simpsons." [29 Jan 1999]
    • The New York Times
  10. 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.
  11. [The] brilliantly deranged animated show returns for a second season Sunday on Adult Swim, picking up where it left off: with time stopped.
  12. 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.
  13. 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.
  14. Manhattan has a feel both for the rush of scientific discovery and for the often-difficult personalities drawn to it. In this war story, the most fascinating battles are among allies.
  15. The remake has everything that those earlier versions had and something more: Tracey Ullman and Carol Burnett together and at each other's throats.
  16. The Knick has become much more than another tortured-genius antihero story. It has developed a sprawl reminiscent of HBO’s “Deadwood,” stretching to the mansion and the gutter with equal familiarity.... Despite the often dark outlook, there’s also a sense of awe at the analog machinery of life.
  17. 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.
  18. While it is quite silly, it's silly in a clever and engaging way, which is the signature style of its creator, Matt Nix.
  19. The casting is delicious, the characters and their stories grow more complex with each episode, and Graham and Roxanna find that you can’t serve the rich without becoming caught in the quicksand of greed. And you know how quicksand works. The harder you struggle against it, the farther it sucks you in.
  20. "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.
  21. The documentary is a loving tribute to his personal charm and other talents.
  22. 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.
  23. 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.
  24. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  25. The advice here is to forget the politics and enjoy the performances and the trip back in time.
  26. 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.
  27. 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
  28. 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.
  29. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.

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