The New York Times' Scores

For 1,416 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 5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Office (UK): Season 3
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 665
  2. Negative: 0 out of 665
665 tv reviews
  1. The film, adapted by Kayla Alpert and directed by Deborah Chow, captures only the faintest shadow of the book’s tone and ambience, so it’s left with the story, and that’s not a good situation.
  2. The bad news is that this potentially rich stew of frights and kink has been underspiced: Asylum, so far, doesn't have the energy or the over-the-top inventiveness that Season 1 eventually displayed.
  3. The creators of “Jericho” deserve some credit for beginning where most thrillers end. But they rely too much on melancholy pop music to paper over weaknesses in the writing and characters.
  4. This, insidiously, is science fiction as extreme midlife crisis. As Lattimer puts it, “I’m trained to take a bullet if necessary, but I’m not sure how to stop a dead Italian cougar.” Or, he might have added, deeply stupid plots.
  5. 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.
  6. Viewers are supposed to invest in their camaraderie, but there isn't much chemistry or even joie de vivre in the group.
  7. 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.
  8. 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.
  9. Through the 3 (of 13) episodes provided for review, there’s still a lot more suggestion than information, and plotting that’s probably meant to be cleverly elliptical--important characters who appear out of nowhere, story points that are made clear a few beats too late--is just confusing.
  10. Despite all those [Louisiana] touches, the pacing is slower, the jokes more labored, the personalities more wooden.
  11. Their response is a conventional condensation that sticks to the broad outlines of the book while scrambling characters and events in myriad small ways guaranteed to enrage Dickens purists.
  12. 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.
  13. First nights are rarely great, and even terrible starts are no indication of how a show will fare. Mr. Hall’s return to the screen was mostly a little sad. He is better than this and deserved a more convincing comeback.
  14. Chemistry is supposed to be the binding element of “Standoff,” and the two leads, while appealing in their own right, seem neither well matched nor sufficiently mismatched.
  15. A so-so, meandering soap opera that reduces its central character to a set of clichés about missing fathers and American energy and egalitarianism.
  16. An annoyingly manipulative drama.
  17. It should be a hoot, but it actually gets old, and dull, very quickly.
  18. The pleasant ambience, however, can't entirely obscure the mystery story's inability to deliver.
  19. While The Fugitive is the most high-profile of the CBS crime series, it is also the most lackluster, mostly because Tim Daly is a lightweight Kimble. [6 Oct 2000, p.E1]
    • The New York Times
  20. The District will either have to ignore race and lapse into television fantasyland or embrace its realism and become more sophisticated. (A tiresome political correctness would be worst of all. ) Either way, it's halfway there. [6 Oct 2000, p.E1]
    • The New York Times
  21. Homeland Security USA is a powerful ego boost for insecure civil servants, but it doesn’t reveal much about the homeland’s actual security.
  22. Pleasant in its details but hollow at its center, Major Crimes could argue in favor of a much-derided TV practice: the traditional network development process. It could have benefited from a year or two spent working on a pilot.
  23. 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.
  24. 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.
  25. Still, if it's not funny, why give "Crumbs" any attention at all? Because it's an unusual experiment: not only is the show set among a fraction of the American gentry that few would consider relatable, but it also exhibits more gravitas than any sitcom in television history.
  26. 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).
    • 51 Metascore
    • 40 Critic Score
    The performers are pleasant enough, and Ms. Remini almost gives Carrie some zing. But they can't overcome the stale setup.
  27. It's not very good--hackneyed and medium funny at best. But as sitcom comfort food goes, it's not the worst either.
  28. Nothing in the premiere episode ever gets as creative as that bit of casting.
  29. The first episode of Mrs. Eastwood & Company has a loose, somewhat rambling quality, as if the producers were still feeling around for characters and story lines, and it goes through dull stretches because no one we see--including Dina --is quite vivid enough to hold our attention on her own.

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