The New York Times' Scores

For 1,454 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 4.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 684
  2. Negative: 0 out of 684
684 tv reviews
  1. 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.
  2. The writing is a bit stilted and predictable, but the show is not unbearable--are some amusing supporting actors and the occasional engrossing medical crisis. As a character study, however, HawthoRNe is weighed down in the pursuit of worthIness.
  3. Mr. Allen's sitcom may well work, although by the second episode it already shows uneasy signs of cuteness bloat. [17 Sep 1991]
    • The New York Times
  4. “Vanished” offers suspense and high-society melodrama.
  5. Mild, affable and familiar, Brooklyn Nine-Nine is a show the whole family can snicker at.
  6. 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.
  7. “Rome” is engaging even if it isn’t a swords-and-sandals version of “The Sopranos,” as HBO had hoped.
  8. Moving forward, less time should be devoted to planning and logistics--this is suspenseless television--and more to motivations. There's a "Hoarders" in here, dying to be redeemed.
  9. It’s an action drama about a cop leading a double life and is itself torn in two directions: aspiring to the latitude and sophistication of cable, but still hamstrung by conventional notions of character development, exposition and taste.
  10. 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.
  11. The show has an admirable energy, but there's also an offensive smugness that it will have to do a lot to overcome.
  12. This first episode doesn’t offer enough payoff for those first scenes: far too much Hauser and running, and too little Boulet and talking. But the opening scenes give proof of intelligence, and the series might yet display that intelligence more effectively, and give Mr. Anderson room to play.
  13. If Mr. Passmore is a little too self-conscious to pull off his character, some of the supporting players fare better, especially Kiele Sanchez as Callie, a nurse who seems poised to become Longworth's love interest, and Carlos Gomez as a forensic medical examiner and Longworth's golf buddy. And though it's virtually impossible to come up with a new spin on dead-body television these days, the premiere of The Glades does end with a tasty twist that makes you want to come back for Episode 2.
  14. Although off to a sluggish start, Brewster Place represents an Olympics-sized leap in prime-time programming.
  15. The first episode of Survivor felt closer in spirit to a summer camp color war than "Lord of the Flies." [2 June 2000, p.E25]
    • The New York Times
  16. 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]
    • The New York Times
  17. 1600 Penn has charm and some funny riffs, but it's a 2013 sitcom that at times seems like it was written in 1983.
  18. It’s disappointing that two of the first three episodes are little more than familiar reworkings of overused formulas and plots. But Episode 2 indicates the concept’s promise; the show stops trying to be too many things and, for a half-hour at least, finds a groove.
  19. The series is slick and usually interesting, but until the final episode (covering the debate over withdrawal from Iraq), not completely compelling television.
  20. The Captain has a great facade, but it’s filled with people who will make you keep checking the real estate listings.
  21. 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.
  22. Allowances must be made for a scene-setting episode introducing an entire new cast, and the show could easily get back in the groove next week. But perhaps, once the new Doctor gets the hang of the Tardis, he could go back to late 2009 and pick up Mr. Davies, just for a consult.
  23. The question is what they'll be given to do going forward, beyond generic relationship material, domestic comedy and the occasional action set piece.
  24. Yes, the show will be funny, in an innocuous sort of way, if it continues to stay off that pulpit. But if it becomes a little less cautious occasionally, it might rise from merely diverting to important.
  25. The writing does not yet live up to the show's premise, but the series has potential to improve.
  26. 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.
  27. Sure, it all makes for pretty filmmaking, but isn't not having to risk your life for a simple meal one of the benefits of civilization? There's something unsettling about glorifying subsistence living for the sake of our high-definition televisions.
  28. It's harder to tell from this preview whether the atmospherics add up to a solid and complex mystery. The pilot isn't groundbreaking, but it is promising enough to justify waiting for the full two-hour premiere on Aug. 1.
  29. Everyone is clearly having a good time, and the fun is catching. One should be grateful for that much, perhaps, but the sheer professionalism cannot entirely hide some potential weaknesses. A little too much of the humor is directed at ridiculing certain signs of aging, from having hair in one's ears to incontinence. Bathroom jokes have their limitations. And Miss Getty's character threatens to demolish the ensemble work with the need to get a laugh every time she opens her outrageous mouth. [14 Sept 1985]
    • The New York Times
  30. "Sons & Daughters" is a milder, more humane version of Fox's canceled "Arrested Development" -- it milks the humor of absurd people and brutally frank conversation.

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