The New York Times' Scores

For 1,699 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 4.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Undeclared: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 809
  2. Negative: 0 out of 809
809 tv reviews
  1. While it is quite silly, it's silly in a clever and engaging way, which is the signature style of its creator, Matt Nix.
  2. The casting is delicious, the characters and their stories grow more complex with each episode, and Graham and Roxanna find that you can’t serve the rich without becoming caught in the quicksand of greed. And you know how quicksand works. The harder you struggle against it, the farther it sucks you in.
  3. "Everybody Hates Chris" is the first show in a long time centered on a teenager whose main problem is not adolescent angst, but real life. And Mr. Rock makes it funny, not maudlin or mean.
  4. The documentary is a loving tribute to his personal charm and other talents.
  5. Rosemary’s Baby bends to current fashions, and, accordingly, is more straightforward and much gorier than the original film. But partly because the story has been so altered, it still has mystery and suspense.
  6. Five Days, made by the BBC and HBO, is riveting because it weaves the most familiar milestones of a major homicide investigation--the news conferences, police interrogations and family meltdowns--into a less predictable and intricately layered narrative that averts clichés without diluting the suspense.
  7. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  8. The advice here is to forget the politics and enjoy the performances and the trip back in time.
  9. Cheerfully cynical yet with a sincere appetite for the game, The Circus is both a document and an example of the superficiality of today’s elections. It may not be a three-dimensional picture, but it’s a vivid one.
  10. Previewing the songs may be enough to draw Foo Fighters fans. For everyone else, Mr. Grohl provides, through interviews, archival clips and his own narration, a musical and social history of the city that’s both surprisingly detailed and decidedly personal.
  11. With some delicious comic touches, Quantum Leap is slyly offering two cheers for the "sensitized" man of the 1980's. Sam even managed to phone his beloved father, who had died in 1974. The experience left him with tears streaming down his face. Mr. Bakula (''Eisenhower & Lutz,'' Broadway's ''Romance Romance'') pulls all of this off with skillful charm. He could easily get away with devouring an entire quiche. [30 Mar 1989, p.C24]
    • The New York Times
  12. This inventive sitcom is hilarious.
  13. It’s been brought into the present (Clarke’s jumping-off point was the Cold War space race), but the depth and ambition are still there.
  14. Mr. Fellowes emphasizes Trollope’s humor without shortchanging the melodrama, and the production has the feeling of a high-def tribute to an earlier era of British film and television (emphasized by the use of old-fashioned fonts for the credits)--it achieves a kind of rollicking serenity.
    • 72 Metascore
    • 80 Critic Score
    The supporting cast is very strong--Tony Hale (perhaps best known for "Arrested Development"), in particular, excels as Selina's goofy and limpetlike personal aide--the various internecine plotlines are building well; and no one is allowed to riff uncontrolled.
  15. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  16. Once the show gets going, and it takes more than one episode to do so, The Leftovers bores into the characters and the fissures that crack their community so astutely that the cause is almost secondary.
  17. This show is smart and rigorous, with a concentration that bores deep without growing dull.
  18. The Carmichael Show consistently feels surprising, not formulaic, partly because of the talent assembled, partly because of Mr. Carmichael’s comic philosophy of prodding his audience.
  19. It takes a lot to make an I.R.S. agent the good guy in a series -- a lot of nerve, imagination and clever writing, a combination that sets the inspired Push, Nevada apart from every other new show of the season.
  20. It’s a dizzying reprise, and also a dazzling one.
  21. They practice the comedy of female semi-empowerment, in which confidence (tending toward narcissism) and a still somewhat startling sexual frankness combine with old-fashioned insecurity and self-abasement, all of them generating laughs.
  22. The script, by Amanda Coe, has a dexterous sense of fun.
  23. The smooth telling of Russo's story juxtaposed against the present day, when gay marriage is sanctioned in some states and gay characters are all over prime-time television, drives home how different the cultural landscape is from the one Russo knew.
  24. This is a deceptively difficult form to nail; often those who try end up with little more than a collection of flatulence jokes. Done right, though, as it is in "Galavant," a mindless comedy is not the same as a dumb comedy. It’s smart, just in a carefree way.
  25. By using a celebrity as a Trojan horse, Teach offers an engaging and intimate look at just how complicated and difficult teaching can be at a large, urban public high school.
  26. Questions of innocence are established fairly early in the far more appealing of the legal dramas beginning on Wednesday: The Defenders on CBS. Here the love connection is unambiguously platonic and winning.
  27. Underground, another well-made show from the underappreciated network WGN America, is at its best when it’s hardest to watch.
  28. Trust Me, a TNT series set in a Chicago advertising agency, is clever and likeable.
  29. Ms. Palin dominates as a disarming egotist whose presumption is balanced by charisma and animal cunning--and in this film, as in life, she has the last smirk.

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