The New York Times' Scores

For 1,300 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% 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: 60
Highest review score: 100 The Sopranos: Season 2
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 600
  2. Negative: 0 out of 600
600 tv reviews
  1. The flashback structure, which could have been cumbersome and distracting, is impressively seamless. But, despite these positives, things start to go off track as early as the second episode.... [Director Cary Joji Fukunaga] doesn’t show much ability here to animate Mr. Pizzolatto’s dialogue-heavy encounters.... There are some nice moments in the later episodes, and they’re the ones with the fewest words.
  2. A predictable mix of violence, sex and sentimentalism.
  3. An Adventure in Space and Time turns out to be an entirely conventional backstage drama, moving at a leisurely pace and making every reversal and triumph easily comprehensible for an audience that may not have seen the original show.
  4. Brody Stevens is inventive but feels like a show you might see on a lot of comedy- or reality-oriented cable channels, and despite the presence of Mr. Galifianakis, it’s less interesting than the other HBO digital offerings.
  5. Bonnie & Clyde is thoroughly inoffensive and resolutely middle-of-the-road, a big slab of a story about a doomed love affair between two nice, good-looking kids who had some really bad luck.
  6. It wasn’t a singalong or a sacrilege or a slavish, shameless remake. It was a live performance of a legendary musical that felt muted and a little sad.
  7. The Assets is uneven, with some excellent scenes and quite a few bad ones.
  8. There is some archness in Killer Women--the opening scene looks like a Robert Palmer music video from the 1980s--but no real humor and still less suspense.
  9. Looking has a premium-cable mandate to be daring, and is indeed sexually unbound. But almost everything else, including dialogue, plotting and humor, is muffled.
  10. The mini-series and its characters are all over the map, stylistically, seeming unable to find the right tone for the time period.
  11. Both the summer movie and Tuesday’s premiere feature plot points so severe and odd that they destabilize the show’s narrative.
  12. Much of the time in the early episodes is spent on the preparations for this mission [for one last big score] and on laying out a complicated network of alliances and animosities, and it gets to be a slog. Helping to keep us interested are Mark Ryan, providing a comic touch as a grizzled quartermaster, and Luke Arnold as a not-so-charming rogue named John Silver, not yet Long.
  13. Mr. Romney is likable in this depiction. But little in Mitt suggests that he is also electable.
  14. Mr. Fallon is a charming and gifted comedian who on his first night chose to be subdued and at times even serious. That said as much about the uncertain future of Tonight as it did about its new host.
  15. At least the Sopranos knew how to have fun.... Mr. Momoa and Mr. Henderson acquit themselves well without generating any heat or much of any feeling. The best work is by Julianne Nicholson as Harold’s damaged wife and Zahn McClarnon as a foot soldier in Phillip’s drug operation.
  16. Sirens stands at the far end of a current spectrum in which jokes are considered too obvious and old-fashioned a way of getting laughs. Unfortunately, the show doesn’t replace them with funny circumstances or characters we care about.
  17. The characters don’t live up to the swirling, often violent action that surrounds them.
  18. The new show about another troubled city and its leader looks more like an ad campaign than a documentary.
  19. Don’t look for the depth of “House,” “Grey’s Anatomy” or other top-flight medical dramas here. But if preposterous, pulse-pounding pileups of bizarre accidents and obscure medical conditions appeal to you, sure, put the trashy beach novel aside and help yourself.
  20. The show is based on a small independent film of the same name, which was never terribly daring to begin with. Any sharpness has been smoothed away for television. Mary and her friends talk endlessly about drinking, but never get drunk; they make knowing references to long-ago loss of virginity, but never seem to have sex. Party Girl is as sweetly innocent as "Clueless," the film that seems to provide its true inspiration.
  21. The show turns into a case study in how not to be subtle. It has a reasonable point to make--next to a cancer diagnosis, a lot of life seems trivial--but makes it over and over again.
  22. TV Land proves again that no one in basic cable does a more proficient, professional job of executing and packaging traditional sitcoms. What’s not so admirable: the creator and writer Matthew Carlson’s pilot script.
  23. When Dominion isn’t preoccupied with filling in its portentous back story, it provides some capably filmed action and a higher grade of acting than usual for this kind of show.
  24. It has more of the feel of a traditional family sitcom than the louder, jokier competition on Nickelodeon, but the humor is still pretty broad and the plotting blunt for anyone outside that age group.
  25. The shortcoming of NY Med isn’t Dr. Oz (who is not around much in the early episodes); it’s that the program doesn’t trust its own best vignettes, lingering too long on emotions that speak for themselves, tarting up inherently powerful moments with syrupy music.
  26. The Bridge still feels like a show caught between two masters. It has a lot of the pieces it needs to actually be a compelling murder mystery--some good performances in key roles; an evocative, sun-blasted look; and an ability (presumably Mr. Reid’s) to concoct creepy, suspenseful scenes. Yet we’re still waiting for it all to come together.
  27. Ms. Greer and Mr. Faxon are talented comedians, but the writing isn’t quite up to their abilities.... The show improves when Russ leaves the house and hangs out with his bitter, profane best friends.
  28. The premise of You’re the Worst is amusing, but the lines don’t match it. Once Gretchen and Jimmy get out of bed and back to their lives--he’s a writer, she’s a publicist--You’re the Worst gets a little better.
  29. The plotlines here--a fund-raiser for a charity that provides high-heel shoes for dogs occupies the first episode--are kind of amusing, but in general the show looks as if it were far more fun to make than it is to watch.
  30. Sharknado 2 intends to be nothing more than dumb fun, and it succeeds well enough at that. But it also leaves you regretting that the Sharknado team (Anthony C. Ferrante again directed from a script by Thunder Levin) didn’t reach for camp greatness.

Top Trailers