The New York Times' Scores

For 1,175 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 5.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Band of Brothers: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 545
  2. Negative: 0 out of 545
545 tv reviews
  1. There isn’t enough Jack Nicholson in Eastwick, and that is one of the main reasons to avoid this ABC adaptation of the 1987 movie “The Witches of Eastwick."
  2. The ideas in V, about alien encounters and mass delusion and media manipulation, are enticing. It’s too bad that they’re floating around in a show that at this early stage, is so slapdash and formulaic in its storytelling.
  3. A comedy about the ignominy of life as a member of a catering wait staff, Party Down is a great idea inadequately enlivened by desperation.
  4. The three brothers, played by Matthew Levy, Frank Dolce and Benjamin Stockham, have stolen his accustomed role. They’re the loose cannons, given the best lines and allowed to swear and punch and break things....The talented Mr. Labine is left to play the same pratfalling sitcom father we’ve seen a thousand times before.
  5. There’s no sign yet that “Happy Town” deserves the “Twin Peaks” comparisons that it so badly wants.
  6. Kell on Earth doesn’t demystify the fashion world so much as try to pump up the mystique. It’s a stretch at times, but it does explain who all those haughty people are who crowd the Breslin Bar.
  7. This new suspense drama, about a small group of people who wake up as hostages in an empty, creepy hotel, has promise, but it also has familiar and ominous signs of a short life expectancy.
  8. The set was slightly different, and Mr. Leno spoke with his guests in matching armchairs, not across a desk, but the content and tone of the premiere looked and sounded like any ordinary “Tonight” show.
  9. It's not unwatchable--CBS being the last broadcast network that enforces a certain level of competence and coherence in its shows--but it's irrelevant, a wholly generic sitcom so divorced from its source material that you have to pinch yourself to remember it had anything to do with the Internet, or with the world after 1985.
  10. An impatience with subtlety is one of the problems with the first episode of Outlaw--the plot points and the performances are overblown, too obvious and too cute.
  11. If you don't have a taste for tears and cheers and group hugs, a lot of time in School Pride is actually spent watching paint dry.
  12. Nothing in the premiere episode ever gets as creative as that bit of casting.
  13. That's not to say that there aren't laughs in Strange Days; they're just not "Entourage"-level laughs (for those who enjoy Mr. Saget's hilarious appearances as himself on that HBO series).
  14. What was a show about bickering but loving roommates is now a show about, to paraphrase Aidan's narration, living on the dark side. Unfortunately it's not a very interesting place.
  15. Despite the high stakes of the story and the frequent violence, the tone is placid and slightly monotonous, as if we were watching the Walton family at the end of the world.
  16. Like the relationship the series feels unfinished, not altogether there in its understanding of itself.
  17. If you are not averse to the Dungeons & Dragons aesthetic, the series might be worth the effort. If you are nearly anyone else, you will hunger for HBO to get back to the business of languages for which we already have a dictionary.
  18. The two actors do everything they can to make [it] a tolerable situation, but they can never entirely distract us from the fact that they're trapped in Mr. McCarthy's dorm-room argument masquerading as a drama.
  19. Ms. Peake is excellent as Costello, but the character, and the show, feel so rigged and inauthentic that even her skilled work can’t make the case for our sticking around.
  20. The series is better when it strays from Mr. David's format, but mostly it follows it too closely.
  21. Viewers are supposed to invest in their camaraderie, but there isn't much chemistry or even joie de vivre in the group.
  22. It's the entire supernatural teen-soap-opera template, but the execution is rushed and chintzy, without the languorous gloss that makes "The Vampire Diaries" worthwhile.
  23. The series hardly tweaks the formula, though it does so just enough that the more generously inclined might claim that Love in the Wild is an effort at democratizing the reality dating show.
  24. And so begin the one-night stands, screaming matches, freedom affirmations, back-seat seductions and enraged exits of this largely absurdist but not entirely useless almost-postracial soap.
  25. The pleasant ambience, however, can't entirely obscure the mystery story's inability to deliver.
  26. Wilfred tries for a coarse sophistication that locates it somewhere between HBO's winsome "Flight of the Conchords" and FX's brutally honest "Louie" (which begins its second season on Thursday night). But it ends up muffled and not very funny.
  27. The show has been slowed down this season and stretched out to fill those 10 hours, which means we spend too much time thinking about the story as it develops into a not very interesting allegory involving health care, death lists and big pharma.
  28. The new season of this dense medieval fantasy set in a land called Westeros serves up a whole bunch of wartime posturing, a seemingly endless number of would-be rulers and the usual sex and (sometimes in the same scene) violence. But it sure doesn't give viewers much to latch onto.
  29. The result is that the twin aspects of the show, fighting each other for screen time, both end up a little vague and underwritten.
  30. They are your grandmother's Angels, throwbacks to an era when there was something contrary and cute about a woman with flowing hair and a lethal karate chop.