The New York Times' Scores

For 1,563 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. There is nothing else quite like it on television, and that is actually saying a lot.
  2. There’s an engrossing moodiness to Mr. Williamson’s latest venture, but one he conveys without annulling the pact he long ago made with himself never to let his cheekiness go undetected.
  3. In any given episode, all three of these actresses may be called upon for slapstick comedy (for Ms. Metcalf, in the season premiere, there’s an outlandish scene in a bathroom stall), deadpan humor and actual pathos, since their patients are often frail, facing dementia or outright dying. And they deliver with nuanced performances that turn quick glances or sighs into punch lines.
  4. There are a lot of jokes about Brooklyn, sex and millennial entitlement, but the underlying sensibility echoes that of “Sex and the City.” It’s a lighthearted but wistfully knowing look at the gender imbalances and generational rifts that make life hard for even fabulous women.
  5. The supporting cast... is strong. And the star is wonderful. ... There's a nice urban, smart-alecky tone to ''Murphy Brown.'' Now it's up to the scriptwriters.
  6. Starz, though, knows the formula for these costume-heavy action dramas from experience with shows like “Spartacus” and “Camelot.” And that formula is executed with particular skill in Black Sails, thanks to some strong performances and an exploration of the consequences of greed that could have come out of modern-day Wall Street.
  7. Transparent is very good, an insightful, downbeat comedy told without piety or burlesque.
  8. When Salem isn’t being deliberately outrageous, it’s cultivating a dynamic that could be fruitful as things move along.
  9. Like the movie, the series is peculiar, with an irregular rhythm and lots of black humor, and it is also oddly winning.
  10. It's a subtle, complex portrait of a relationship etched into an engaging espionage thriller set in 1981.
  11. It’s an exhilarating thriller that pits a disparate group of people against an insidious military-industrial conspiracy. But it’s the unlikely affinity between a stern, pious Muslim teenager and the captive female American soldier he is instructed to guard that gives this high-octane action-adventure drama a special charm.
  12. Inspiring stories of brave men, women and children introduce us to Harry Washington, one of George Washington’s slaves, who ran away from Mount Vernon and joined the British Army; to the first sit-in (a refusal to worship from the “black pews”) at a Philadelphia church in 1786; and to Mound Bayou, Miss., an all-black town founded proudly by former slaves. But we’re left wishing there were time to learn more.
  13. Shameless is deftly adapted and surprisingly appealing, crude, funny and also touching.
  14. The result is surprisingly interesting, fun and, at times, even quite moving.
  15. At the outset, Bloodline doesn’t even make clear if anyone has been murdered, let alone who might be missing. But it does establish that it may be well worth waiting to find out.
  16. Both series [The Bletchley Circle and "Call the Midwife"] find a clever, entertaining way to pay tribute to women who in their time were often overlooked and underestimated, and nevertheless found ways to never be ordinary.
  17. Every so often a staff member, usually DiDi, is shown in a quiet moment with a patient, providing actual care. These small scenes end up being surprisingly moving because this fictional hospital unit, in all its ridiculousness, feels somehow true to life.
  18. The television adaptation is surprisingly scary and remarkably good, a show that visually echoes the stylized comic-book aesthetic of the original and combines elegant suspense with gratifyingly crude and gruesome slasher-film gore.
  19. Latino Americans is the kind of polished, intelligent documentary series that PBS does so well.
  20. Just when the crowd thinks it knows where he’s going, he jerks the string and sends things in a different direction, to great effect. It’s a gimmick that takes a refined sense of timing and a mastery of misdirection, and Mr. Cosby, who is 76, shows that he still has both.
  21. The plot of "House of Cards" requires more than just a couple suspensions of disbelief. Seemingly perceptive characters turn inexplicably naive. The obvious is overlooked just a bit too frequently. But, directed by Paul Seed, the production moves ahead briskly, and as the story turns more and more vicious, the timely potboiler becomes surprisingly compelling. Much of the credit belongs to Ian Richardson's scarily perfect performance as Francis Urquhart.
  22. This is an impressive production. The cast is generally quite good; Ms. Martin is extraordinary, making Christy's fresh-faced innocence utterly captivating on these beautiful and sometimes dangerous mountains.
  23. It hardly needs saying that Ms. Silverman’s material is not for everybody.... But she isn’t spewing things out randomly, hoping to get by on shock value. The execution is fairly intricate.
  24. The pilot was shot on location in southern Africa and is dazzlingly filmed; the cinematography alone stands out. But it’s the hero’s duality--he’s a good Samaritan with a flawed personality--that helps make The Philanthropist an unusual and exhilarating network series.
  25. "The Apprentice" stands out [among the new reality shows] as one that takes a modest twist on the "Survivor" formula -- from jungle to urban jungle -- and improves on it. [8 Jan 2004]
    • The New York Times
  26. Once the annual avalanche of Halloween-themed episodes, specials and movies overtakes TV, you probably don't expect to be using the word "charming" very often. But charming perfectly describes one such entry, Toy Story of Terror!
  27. The show works because Ms. Applegate is the kind of comic actress who could never be completely believable as a goody-two-shoes. She puts a healthy ironic distance between herself and that dreaded entity, the better person her character must become. You look in her eyes, and, happily, you see a recidivist.
  28. Alice Morgan (Ruth Wilson), whose braininess extends to an expertise in physics and an acute ability to help Luther unravel the most advanced criminal minds. The two circle each other dangerously, their chemistry both bizarre and addicting.
  29. [Mom is] both both wittier and sweeter than the new Fox show "Dads."
  30. Dirty Sexy Money lives up to its name.

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