The New York Times' Scores

For 1,178 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 5.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Sopranos: Season 3
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 548
  2. Negative: 0 out of 548
548 tv reviews
  1. [Coma] is sometimes entertaining, sometimes infuriating.
  2. The problem is more likely to be the generic nature of Emily's misadventures, and the soap opera implausibility of the medical stories, which is extreme, even for the genre.
  3. [Peter Dinklage, Ciaran Hinds, Paul Kaye, and Dianna Rigg are] all fun to watch, even when their characters don’t have anything in particular to do besides relay information that we need to keep up with the story or keep straight the seven (so we’re told) warring families.
  4. The gore is plentiful, the tone is inconsistent, and by the end only one thing is undeniably clear: Mockingbird Lane is a very different creature from "The Munsters."
  5. The music, costumes, lighting and even some camera shots--a shower head, a spiral staircase--all evoke classic Hitchcock movies like "Psycho," "Spellbound" and "Vertigo." But the film loses steam as soon as Hitchcock acts on his passion.
  6. A serviceable, nonthreatening family comedy that embraces the illusion that time stopped when Chachi married Joanie.
  7. "Catfish" was a clever riff on a found-footage thriller, Catfish: The TV Show is a standard reality series mixing elements of the dating and rehab-therapy genres.
  8. The filmmaking is at times derivative and heavy-handed, and the score is unrelenting and unbearable: an electronic thumpa-thumpa pounding that sounds like music to inject blood boosters by.
  9. [The] preposterously grandiose title really needed to be strung out a bit to give an accurate picture of the program. Something like, "Mankind: The Story of All of Us, Delivered Somewhat Superficially by People You Know and Love, Because We Don't Want to Bore You."
  10. Mr. Stone brings a more stentorian absolutism, leaving no room for doubt or nuance.
  11. What looks like a flat noir thriller could still make for a pretty entertaining police procedural.
  12. The occasional half-decent joke aside, the pilot episode of (the real) Cult is largely derivative, with a style and atmosphere reminiscent of better CW shows like “Supernatural” and “The Vampire Diaries,” and a mildly interesting, at best, metaphysical-mystery component that feels borrowed from “Lost.”
  13. It’s reasonably smart, reasonably interesting and reasonably well acted without being particularly good.
  14. Freakshow is kind of drab compared with “Immortalized,” especially for anyone who has ever lived within driving distance of Coney Island.
  15. Immortalized is the better of the two ["Freakshow" being the other] because it revels in its own absurdity.
  16. Golden Boy is a smoothly made but entirely generic show that rides the squad-room-as-family metaphor hard.
  17. These interactions have none of the dark drama found on "Teen Mom" or "16 and Pregnant"--at least not yet.
  18. All of that good early work by the cast explodes in a ball of predictability.
  19. The World According to Dick Cheney has interesting insights and revealing moments, but for critics who long to confront Mr. Cheney it may prove dissatisfying, because it allows him to make astonishing assertions without direct contradiction or follow-up questions.
  20. Most of the elaborately introduced plotlines fizzle out (or simply vanish), and the final surprise is the worst kind of twist ending, arrived at arbitrarily and seemingly presented for its shock value.
  21. The malaria story, it seems to say, is filmable only if the central figures are white and it is larded up with the kind of button-pushing that television dramas thrive on.... But the scenes in which the two actresses are together have some real power.
  22. As to whether the show will get back on track, the early signals are mixed.
  23. The creators take a fresh start, but cling to the sepulchral atmospherics that too often take the place of narrative. The series is still suspenseful, but the dread that once again follows Sarah through damp forests, deserted tenements and shadowy, rain-washed streets diminishes with overuse.
  24. The good bits are hilarious; the others often kind of just lie there.
  25. The series needs to work more on the writing and less on the lighting to make these particular characters welcome week after week.
  26. Peter Sagal begins Constitution USA, his four-part exploration of the founding American document, with look-at-me gimmicks that are more annoying than enlightening, but the series grows more substantive as it goes along.
  27. The show is not a snarky sendup of loveless nerds or callous swingers; it’s a fairly gentle comedy about burnouts who call themselves a band of brothers.
  28. It feels cobbled together, from the premise of “Chuck,” “Jake 2.0” and other shows to scenes and situations that recall better productions like “Person of Interest,” “Homeland” and “Raiders of the Lost Ark.”
  29. It might not even be around long enough to develop a consistent tone or viewpoint, both of which are lacking in the pilot. But it has a pretty good actress, Anne Heche ("Hung"), at the head of the cast, and it at least tries to add a touch of levity to what has always been a ponderously serious genre.
  30. While Mr. Douglas glides through the film--demonstrating that his talent for portraying carnivorous lechery and polished duplicity works regardless of sexual orientation--and Mr. Damon is earnest and committed, the love, or whatever it was, between Thorson and Liberace never comes into emotional focus.