The New York Times' Scores

For 1,283 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 4.9 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 594
  2. Negative: 0 out of 594
594 tv reviews
  1. The competitors may not be all that amusing, but some of the show's gimmicks are.
  2. It's a delicious immorality play with an excellent cast, but the tempo is slow and oddly ponderous--a romp slowed down to a dirge.
  3. 1600 Penn has charm and some funny riffs, but it's a 2013 sitcom that at times seems like it was written in 1983.
  4. Unfortunately, the three hours of the show, while they include chases, sexual entrapment, grisly murders and lots of spycraft, never exceed the tension in those quiet opening scenes.
  5. The question is whether it has any depth or insight to offer once it [raises your eyebrows]. The evidence provided by the first three episodes is inconclusive.
  6. Do No Harm is a resolutely lightweight entertainment whose silliness isn't necessarily a deal breaker--if you turn off the right parts of your brain, you might enjoy it.
  7. The story lines and dialogue may be a bit too cute and contrived to hold viewers’ interest for long. It’s the cast, which includes Ana Ortiz of “Ugly Betty” and Judy Reyes, who played Carla on “Scrubs,” that commands attention.
  8. Bates Motel has a talented cast and a memorable back story that guides, but doesn’t limit, the narrative, and at its best it’s intriguing and enjoyably grim. But even more than Norman, the series itself has a split personality, a Hitchcock classic grafted onto a much more mundane brand of suspense. Each new twist moves it further from “Psycho” and closer to Nancy Drew.
  9. [A] glossy, silly, intermittently entertaining new series.
  10. The directionless but well-shot archival footage dates to 2011, when Kesha led her first headlining tour, and was filmed by her brother Lagan, among others, which explains the access, the duration of filming and the intimacy.
  11. Ms. Martindale sucks up most of the oxygen on the show. Beau Bridges, who plays her bumbling husband, Tom, barely gets a word in edgewise. But even in the basic ensemble sitcom, Mr. Arnett’s suppressed lunacy seeps though, mostly in the inane local news reports that Nathan delivers with smoothie aplomb. It doesn’t hurt that his cameraman is J B Smoove, who was so great as Leon on “Curb Your Enthusiasm.”
  12. Watching Mr. Williams return to the kind of improvisation-style routines that made him famous in the 1970s is bittersweet, like watching Jimmy Connors play tennis again: they are still impressive, but audiences can’t help recalling how much more elastic and powerful they were at their peak.
  13. It has lots of stunning images, but if there’s a unifying concept, it is apparently going to emerge more gradually than a single episode allows.
  14. The film’s inevitable compressions, made worse by the amount of empty, self-congratulatory celebrity blathering, mean that every Pryor fan will have omissions to complain about. But the best strategy is probably to sit back and enjoy what’s there.
  15. This may be a case where a little more violence would help make the stakes seem more real. The main issues for these royals and would-be royals are when to bow and to whom.
  16. It’s a solid start, and were this the first series of its kind, King & Maxwell would seem like a sure hit. That it’s working the same territory as various other well-made shows costs it some luster, but it could still settle in as a reliable schedule filler.
  17. If the show manages to settle on a consistent tone, much still rides on the slender shoulders of Ms. Kent. The first episode is staged as a long monologue, with the bartender-coed unloading her story on one of her regular customers. Ms. Kent is game but not always steady as she begins to negotiate the tough-but-tender course the show's producers and writers have set for Lydia. [30 Sept 2000, p.B17]
  18. Assuming the perspectives of its characters, the series avoids cliches and condescension; the performances are remarkably free of the cheap mannerisms actors often resort to when playing addicts. But this insiders' view is still undermined by the tone of a cautionary tale. The fact that the series makes a plea to understand the characters' humanity, rather than a judgment about them, doesn't make it less didactic.
  19. Mild, affable and familiar, Brooklyn Nine-Nine is a show the whole family can snicker at.
  20. The show has an admirable energy, but there's also an offensive smugness that it will have to do a lot to overcome.
  21. Sean is an older but only slightly more down-to-earth version of Jack, the impishly self-centered gay man Mr. Hayes played so well on “Will & Grace,” and that gives this otherwise commonplace sitcom its zest.
  22. Camp tries to sound cleverer than its conceit, but the series is most appealing when it keeps in mind that everybody has a story to tell about that one special summer at sleep-away camp.
  23. Mr. Wahl has the kind of brooding good looks that could attract ratings - that is, if the public is ready for still another blood-and-guts romp on television.
  24. Mr. Gregg hits the same appealing note of wry authority that he struck in “The Avengers” (it’s not yet clear whether he has any others), and the newcomer Brett Dalton shows some charm as a Bond-style operative. Joss Whedon, meanwhile, has fun with the show’s obligatory jabs of self-awareness.... The first week’s adventure feels perfunctory, though, even given the constraint of introducing characters and back story, and most of the team members are still strictly two-dimensional.
  25. The family conflicts are facile and easily resolved on Back in the Game, but Terry is an appealing heroine, and she has an amusing new best friend.
  26. Low Winter Sun is so clotted with bleak cityscapes, shadowy interiors and brooding portent that the narrative sags under the weight of all that mood-setting.
  27. It’s treacle, but it’s distinguished by several things, beginning with its relatively dry style and careful modulation of tone and volume--even the shouting and the car chases are discreetly tasteful.
  28. Kirstie, with Ms. Alley mugging through her role as a kindhearted narcissist, is more like the Ford Focus. If it’s late and it’s all the rental company has left, you might as well take it.... Rhea Perlman is funny as Thelma, but the real revelation of Kirstie is Michael Richards as the shady chauffeur, Frank.
  29. Where Sagan’s narrative often approached poetry, Dr. Tyson’s can sound like an overwrought, overamplified planetarium show.... The animation used to present his story resembles low-budget anime and isn’t terribly absorbing. Bruno deserves better. Nit-picking aside, if the new Cosmos doesn’t deliver quite the punch of the original, it’s because this isn’t 1980.
  30. The characters on Surviving Jack, like those on “Growing Up Fisher,” are more appealing and a little more nuanced. But they both are feel-good comedies that seem written to make their creators, more than the audience, feel good. Neither is as funny and durable as "The Middle."

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