The New York Times' Scores

For 1,332 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 4.7 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 620
  2. Negative: 0 out of 620
620 tv reviews
  1. Ms. Romijn's hourlong show tries to combine the arch satire of "Desperate Housewives" with the chick-lit romance of "Grey's Anatomy," and falls short of both.
  2. Neither Ms. Hewitt nor her series are malevolent forces, and the producers can feel as good as they choose about a cloying job well done.
  3. A tepid knockoff of "Sex and the City."
  4. The writing is not witty enough to carry the material, which is not even very original.
  5. It marks a return to the 80's era of "Dallas," "Dynasty" and "Knots Landing," when the prime-time landscape was dotted with lurid, silly soap operas that provided the kind of catty catharsis that regular shows neglect.
  6. The show admirably shakes up these lives and implores people to envision improvements, but much of these benefits could be accomplished without such a benefactor swooping into town.
  7. "Treasure Hunters" is too flimsy a pillar to help structure NBC's reality-television future.
  8. Torchwood is a world I wouldn’t mind seeing erased.
  9. Lipstick Jungle is a wooden clog of a melodrama squeezed into a flimsy, satin and marabou mule.
  10. So far, it’s only abrasive.
  11. “Identity” is to game shows what a gastric bypass is to dieting: a choice that defies convention and social niceties.
  12. Mr. Kelley is a gifted television producer, and “The Wedding Bells” has funny moments, but this series is not a labor of love. It’s a labored effort to simulate romance.
  13. The women here aren’t foils for male inferiority; they’re just dragging the boys down further with their alternately lazy, nutty or emasculating ways.
  14. In almost every way, Moonlight demands that we question the grounds for its existence.
  15. Everything about Jezebel feels too broad.
  16. Ms. Margulies never recedes from the scripted egomania; she rams right through it. She remains shrill even in grief.
  17. Unhitched expends a wrestler’s energy aiming to offend and provoke, but no amount of outrageousness can mask its conformity.
  18. Let’s say it one more time: He’s charmless and unfunny.
  19. There is a sense throughout that Mr. Engvall is betraying his core audience, and the whole blue-collar comedy ethos in particular, trading in one category of cliché for another.
  20. Sometimes the humor is so heavy-handed that it seems almost like self-parody.
  21. Too lil’, too late.
  22. Most of the time it doesn’t trust its own premise; the mechanics at this body shop rarely do any real work, instead spending too much time on toilet humor and immigrant jokes.
  23. Nothing seems to bring it to life — not its obsession with voyeurism, its forays into cross-dressing, its objectification of the obese.
  24. If you didn’t already know that Ms. Cho has been a great friend to gay men, she makes that point often enough here. Unfortunately she doesn’t make many others.
  25. Sticking with Cupid requires a certain attachment to the idea of a Claire-Trevor love connection, one apparent only in moody glances and pronounced opposition rather than in even the faintest semblance of chemistry. In any other series Claire and Trevor would go out for a hot dog once and realize that they were actually much better off with their respective exes.
  26. When the pranks aren’t gross, they are just inane--or, worse, demeaning to journalists.
  27. It sedates, and its fabricated sentimentality does not save it.
  28. Unfortunately, it also possesses the true Halmi signature: despite the fact that it’s packed like a sausage with banter and jokes both verbal and visual, it doesn’t contain a single genuinely funny moment.
  29. ABC Family means well but could not have done worse. Secret Life doesn’t take the fun out of teenage pregnancy, it takes the fun out of television.
  30. It never grows quite suspenseful enough, and it rests on the rather un-sci-fi-ish idea that the future is a benign force, like a mentor uncle with something meaningful to teach us about our venality and callous disregard for the Earth.

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