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 series itself seems divided: at times a supersize fable told with portentous, and even turgid, simplicity, while at others, a sophisticated spoof that uses ancient legend to send up modern politics. And when a series cannot be both, it ends up being neither.
  2. You see Mr. Bratt with his goatee and expressions of martyrdom, but you hear the voice of Nancy Reagan.
  3. Leverage winds up seeming merely anachronistic, wrapping up with a cute resolution each week, the swine in handcuffs, not torn from the private hockey rinks of their Aspen vacation homes.
  4. What is obvious to viewers after only a few minutes is not obvious to the supposedly crack investigators dispatched to untangle the conspiracy, whose Ludlumesque layers they fail to see.
  5. The show’s value, if any, is in demonstrating the different styles used by the principals: tough, tender and so on. The show’s drawback is that it suggests that all principals do is administer discipline. For that, the show’s creators need a spanking.
  6. The semi-improvised Z Rock has its moments, none of which can be described adequately here.
  7. Suspect Behavior is not boring, but it is familiar.
  8. Accidentally on Purpose, with its matching sets of friends for Billie and Zack, its bland jokes, its lack of any sort of topicality, its Jenna Elfman, feels as if it could have been on any time in the last two decades.
  9. The series may want to say something about the inequities of the medical care system or it may just want an excuse to produce panning shots of the velvet lawns and iron gates of Gin Lane. It seems safer to bet on the second and to remain grateful for the “House” reruns that are shown more or less continually on USA.
  10. If you’re old enough to remember “The Partridge Family” and young enough to remember it fondly--which means you’re in your mid-40s and can recite the Echo Valley phone number--then you might enjoy Tuesday night’s pilot episode of Ruby & the Rockits on ABC Family.
  11. There’s too much hinting around about Chance’s troubled past--reflecting the solemn pretensions of the comic book-- and the writing, in terms of both humor and plotting, isn’t at the level of the show’s role models.
  12. Undercover Boss, a CBS reality show that turns the tables on management, seems tailor-made for the anticorporate rancor of the times, but if anything, it paints too rosy a picture of white-collar benevolence.
  13. Predictable characters haven’t hurt the “CSI” crime shows, but this is Mr. Bruckheimer’s first hospital drama, and viewers accustomed to layered dramas like “ER” and “House” expect more.
  14. At this point, everything about it feels generic.
  15. The comedy pivots on Hank’s painful adjustment to middle-class living, but that joke is undercut with syrupy life lessons about parental responsibility and quality time.
  16. No one appearing on Melrose Place 2.0 is nearly that dreadful, and the one-liners that remind us that we are not watching the television of a historic golden age retain the zesty camp of the series’s first iteration.
  17. The balance between humor and pathos is a hard one, and this show teeters on the edge and occasionally falls flat.
  18. The premiere showcases seven different women, doctors and their patients, in various states of anger, insecurity and neediness. It’s like a Hogarth engraving of the seven stages of womanly despair, “A Surgeon’s Progress.”
  19. Too often The Real L Word feels like sitting in a restaurant and hearing about some incredible specials that happen to be sold out. Anything genuinely interesting seems to have already taken place.
  20. In the absence of an arcing narrative, the series wants us to accept as its mission of suspense the mystery of this crypto drag-king-meets-shopaholic friendship.
  21. Plain Jane is more than shopping spree and vocabulary builder; it betrays a cockamamie respect for the therapeutic process, and it shouldn't be giving too much away to tell you that the snails lose, that the plain Janes blossom, and that no stimulus money has been wasted along the way.
  22. It feels as if the attention that should have gone to the storytelling all went to the atmosphere and the repartee.
  23. The banter between the Blooms is so full of cloying sugar substitutes and so devoid of any real tension that there is no voyeuristic thrill to be had even from their--I'm just going to say it, because the show does--"sexpionage."
  24. Each warrior is given equal time and the evidence is piled up on both sides to maximize the suspense around the weekly suspect's guilt or innocence. But the personality cost is too high for the payoff.
  25. It offers the minor pleasures of formulaic fantasy and weekly puzzle solving, though in a cheaper-looking and less original package than usual.
  26. Some of the stories are touching, but the formula is set and stagy. The viewer has no doubt that the episode will end with a job offer and floods of thankful tears.
  27. The snowcapped mountains, pine forests and shimmering lakes are majestic, the Palin children are adorable, and the series looks like a travelogue--wholesome, visually breathtaking and a little dull.
  28. Off the Map takes few chances with plot or characters.
  29. The result is a production even more fantastically soapy than the first, visually elevated by an apocalyptic video-game look in which the orgiastic sex and violence are presented with a studied, syncopated choreography.
  30. It's well made and also at times unnecessarily cheesy.

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