The New York Times' Scores

For 1,369 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 5.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Gideon's Crossing: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 639
  2. Negative: 0 out of 639
639 tv reviews
  1. With a deep and perplexing hero, a wide social reach and uncommon eloquence, it instantly takes a place among the best dramas on television.
  2. On the evidence of Friday's season opener, Fringe will continue to be the best show of its kind since "The X-Files" at the grace notes, intimate or humorous instances like Olivia's Crate & Barrel moment (which won't be further spoiled here). When you get the small things right, it's less crucial that your universes and time shifts exactly line up.
  3. “Weeds” is still an outstanding show, but it would be better if it didn’t push so hard to stand out.
  4. Manh(a)ttan provides a cleverly imagined portrait of the men and women who were at the epicenter of that peculiar sovereignty.
  5. If you've seen the many hours of "The Blue Planet" and "Planet Earth," or are a regular watcher of the nature documentaries constantly available on cable, then you've already seen most of what Great Migrations has to offer, or some version of it.
  6. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  7. The premiere episode tends to lapse into a "You go, girl" mode typical of shallow treatments of disability, with fist-pumping and treacly background music.
  8. A teary, perfectly tolerable collection of interlocking stories featuring lots of recognizable actors and two particularly well-etched segments.
  9. The nature-nurture question has always been central to the show: had his upbringing been different, would his genetic makeup still have led him onto the same path? Now the stakes have been raised compellingly in that debate.
  10. John Adams is the weakest part of John Adams.
  11. It is a believable, sharply observed portrait of ordinary men who, through all-too-common bad breaks and missteps, feel that they are backsliding.
  12. Hopkins, a six-part documentary series by ABC News that begins on Thursday, provides an extraordinarily intimate look at doctors and desperately ill patients that is gripping but not groundbreaking.
  13. It is the seamless weaving of Marshall's personal biography with the story of his tenure as chief counsel for the N.A.A.C.P., where he worked to challenge the separate-but-equal doctrine used to justify racial segregation in the decision of Plessy v. Ferguson, that keeps Thurgood a work of such enthralling theater and television.
  14. 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.
  15. A fiercely controlled and inventive work of art.
  16. A surprising element of the series--making it both compelling and perversely enjoyable--is that Mr. Herzog loosens up, getting more argumentative in the interviews and presenting moments of mordant humor.
  17. It's a subtle, complex portrait of a relationship etched into an engaging espionage thriller set in 1981.
  18. "Broken Trail" is not as well written or compelling as "Lonesome Dove," but Mr. Duvall brings an earthy believability to even the most plodding lines.
  19. This grayer, chillier Foyle’s War may not suit everyone, but it’s admirable, and a bit remarkable, that Mr. Horowitz has moved the show forward in a way that makes historical and dramatic sense.
  20. It’s a better-than-average, serious-minded science-fiction cartoon, with well-executed space chases and battles but also an introspection more reminiscent of Japanese anime than of the usual American children’s animation.
  21. Offbeat and utterly charming.
  22. Ultimately it's a fairly standard TV movie, if an overly long one, ending on a note of sentimental affirmation and, luckily, offering one outstanding central performance.
  23. The acting is compelling, and the costumes are sumptuous, but the staging is static, too “Masterpiece Theater” for the story at hand.
  24. [Its] sharp writing elevates it above its strained concept.
  25. Violence, like deficit spending, is a very American vice. “Dexter” is yet another temptation that is almost impossible to resist.
  26. There is little resistance to cliche in all this, but the cliche is so visually appealing that you'll feel like a spoiled child if you complain. And you're given such a treat that you'll also feel like one, begging for more.
  27. 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.
  28. When this complex question about memory, identity, reality and generations of women supplies the suspense of the film, “Life Support” really gets good.
  29. It is louder, bolder and more lurid than the original, and also more boring.
  30. If the longstanding "SNL" segment is a sort of introductory course in wringing humor from headlines, and Mr. Stewart's "Daily Show" is the advance-level class, Onion News Network is graduate school, requiring much quicker thinking and a greater tolerance for comfort-zone invasion.
  31. Mad Men is both a drama and a comedy and all the better for it, a series that breaks new ground by luxuriating in the not-so-distant past.
  32. Latino Americans is the kind of polished, intelligent documentary series that PBS does so well.
  33. The action itself is pedestrian, but as with the previous Librarian adventures, there’s just enough wit around the edges to keep you watching.
  34. An Adventure in Space and Time turns out to be an entirely conventional backstage drama, moving at a leisurely pace and making every reversal and triumph easily comprehensible for an audience that may not have seen the original show.
  35. The third season doesn’t just stretch credulity, it tries patience.
  36. 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.
  37. The solemnities of the writing are balanced by some excellent performances and superior production values.
  38. On balance it plays like a well-made and increasingly grim horror picture, with a crispness of execution and a graphic level of intestine-pulling, throat-ripping violence that are both beyond the American norm.
  39. The Last Man on Earth is well made, meticulous in its comic details and pleasantly acted by Mr. Forte and Ms. Schaal, but you may wish that it really had been about the last man on earth.
  40. Shaped by directors and camera people, given the familiar MTV gloss of breathless pacing and quick edits, "The Real World" is a relentlessly artificial concept. ... Accepting that, viewers can sit back and enjoy the carefully cultivated performances, keeping them in skeptical perspective.
  41. It’s a premise that in the wrong hands could be boorish and not at all amusing, so it is to the writers’ credit that Aliens is instead fresh, funny and charming in a tart, sardonic way, one of the best sendups of adolescent angst since "The Wonder Years" and "Malcolm in the Middle" (and perhaps even "My So-Called Life").
  42. 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.
  43. 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.
  44. These highlight reels can be enjoyed for their own sakes. Mr. Burns and Ms. Novick try to construct a larger story around the career of Barry Bonds, who set the single-season and career home run records while becoming embroiled in the steroid scandals, but it never really coheres into something that can give shape to the entire four-hour documentary.
  45. John Oliver, a graduate of “The Daily Show With Jon Stewart,” didn’t exactly break the mold when he rolled out his new show, Last Week Tonight, late on Sunday on HBO; he just tugged at it a bit.
  46. The first two episodes are relatively restrained by Luther standards, with an emphasis on plodding police work, while the case against Luther percolates in the background. Neil Cross still delivers the dread, though, as killers pop out of attics, closets and even closer places. The action picks up in the season’s second half.
  47. The result is a film that’s dense with information, some of which will be familiar if you’ve paid attention to the news over the last two decades, and occasionally a bit repetitive.
  48. The revisiting of Ripper lore, though, is relatively painless, especially since the most interesting character in this series is Edward Buchan (Steve Pemberton), the Ripperologist who tips Chandler to the similarities between the then and the now.
  49. Inspiring stories of brave men, women and children introduce us to Harry Washington, one of George Washington’s slaves, who ran away from Mount Vernon and joined the British Army; to the first sit-in (a refusal to worship from the “black pews”) at a Philadelphia church in 1786; and to Mound Bayou, Miss., an all-black town founded proudly by former slaves. But we’re left wishing there were time to learn more.
    • 76 Metascore
    • 60 Critic Score
    There's a fine line between clever and stupid, as somebody says in "This Is Spinal Tap," Rob Reiner's cleverly stupid "rockumentary." Beavis and Butt-head don't just walk that line: they live there. [11 July 1993, p.8]
    • The New York Times
  50. Without Zoe Barnes, prostitutes, corrupt lobbyists and dissipated members of Congress to perk up the landscape as in seasons past, the show feels monotonous. It certainly looks it.
  51. If you are reaching the saturation point with this type of sketch work, The Birthday Boys may cause you to sigh at the sameness of it all. But if you’ve stayed away from those other yucksters, these ones provide fairly consistent midlevel laughs.
  52. These four women are amusing, at times poignant, but not easily likable. The show is caustic and hard to watch, but harder to turn off. In Season 3, their solipsism and callousness are even more pointed, all the more shocking, and still quite funny.
  53. It has one of the most talented actresses on television as its lead, and yet over all Nurse Jackie is surprisingly, and disconcertingly, off key. This is a drama draped in black humor that doesn’t know when to be funny.
  54. There's plenty of espionage action and kick-boxing but little concern for political authenticity. The appeal rests in the heroine, played by Jennifer Garner with an attractive combination of vulnerability and entrepreneurial self-protectiveness. This lively piece of entertainment is too cartoonish to feel threatening.
  55. The list of people who have been reviled and labeled, explicitly or subtly, as something less than human is long: blacks, Jews, foreigners, people with AIDS, people with disabilities. Zombies notwithstanding, this appealing series, created and written by Dominic Mitchell, works this territory as credibly as any more conventional drama.
  56. The strange little documentary Nixon by Nixon: In His Own Words is engrossing despite itself.
  57. The story so far is compelling, but, as with that true-crime podcast, our judgments will be heavily influenced by how the series plays out and what kind of resolution it provides (or doesn’t).
  58. This Steel Magnolias is mostly restrained and relentlessly tasteful, qualities the original could not have been accused of.
  59. The two episodes that begin its stretch run on Wednesday reflect a slight flattening out that’s been evident in recent seasons: both depend to some extent on movie parodies, and in both the gags are a little less pointed than in the early seasons. But they’re still pretty good.
  60. The show is bold, quite good and gets better as it goes on. But Huff is never truly great the way ''The Sopranos'' or ''Curb Your Enthusiasm'' have been on HBO. Like other Showtime fare, ''Dead Like Me'' and ''The L Word,'' the series is enjoyable without being vital.
  61. 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.
  62. Fortitude is great to look at and will eventually provide the basic pleasure of a convoluted mystery solved, but it’s a distinctly chilly piece of storytelling.
    • 75 Metascore
    • 80 Critic Score
    Superman purists won't like it. People abnormally devoted to established teenage shows from which it borrows won't like it. But anyone with a flexible streak should find plenty to admire in Smallville.
  63. Bribes, kickbacks, suspiciously well-compensated construction companies, organized-crime alliances--this is the stockpot in which the series stirs its wooden spoon. For the most part the flavors blend well.
  64. “Ugly Betty” is a sweet, funny show. It’s worth watching. And we’ll see.
  65. The original title, "Keep Hope Alive," is funnier, but Raising Hope better suits a very funny sitcom that leavens its satire with sympathy.
  66. This first episode won't grab new viewers by the throat either, although it does reveal David Boreanaz's immense attraction as the brooding, hunky, laconic vampire. [5 Oct 1999, p.E7]
    • The New York Times
  67. Just when the crowd thinks it knows where he’s going, he jerks the string and sends things in a different direction, to great effect. It’s a gimmick that takes a refined sense of timing and a mastery of misdirection, and Mr. Cosby, who is 76, shows that he still has both.
  68. Had it arrived 10 or 15 years earlier, when long-form narrative was not the dominant form on cable television, it would have been felt, arguably, more as an explosion than a trickle. The series has at least so far failed to find a large audience, indicating perhaps how much we have come to take good serial drama for granted.
  69. 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.
  70. The Knick is unusual and very good. It’s a great leap backward in time, yet another ambitious examination of at an important but often overlooked epoch in history.
  71. Terriers hangs rich people out to dry, makes fun of yuppie affectation and seeks as much to position itself on the right side of the class war as it does to amuse us. It succeeds amiably on both fronts.
  72. The challenge with any extended zombie narrative is striking the right balance between gut-munching action and undergraduate philosophy seminar, and the first two episodes this season are pretty talky.
  73. Alicia’s shock and her sense of surreal detachment, is as vivid a depiction of personal crisis as any on television. But after this cleverly written series deconstructs the exact moment when everything falls apart, it imaginatively explores how one scorned spouse struggles to get past a life-shattering scandal.
  74. Absolutely ordinary. [21 Sep 1998]
    • The New York Times
  75. [A] sleekly made, absorbing series.
    • The New York Times
  76. This nine-episode series is maddeningly and needlessly opaque, and so deferential to the rites and rituals of the track that the storytelling is labored and even joyless.
  77. Burn Notice resumes its second season on Thursday like a sarcastic friend whose absences may not be lamented but whose reappearances are always surprisingly well met.
  78. Top Chef promises more than a clash of personalities; it inspires patriotism.
  79. The zeal and dedication of researchers is inspiring, and so are the patients and caregivers who struggle with the disease everyday, but over all, The Alzheimer’s Project celebrates hope at the expense of caution.
  80. Public Speaking perfectly captures the pleasure she takes in observing the world while subtly revealing the crippling dimensions of perfectionism, the outsize ego it requires to achieve a certain kind of creative failure.
  81. Mr. Weintraub is a genial, garrulous interview subject, rattling off anecdotes about Colonel Parker, Sinatra and Pat Morita, and Mr. McGrath supplies lavish film clips of 1950s, '60s and '70s New York, Las Vegas and Los Angeles. It's not a vanity project, but it's the kind of deluxe package Jerry Weintraub has spent his life working relentlessly to assemble.
  82. The show's characters are flat and so is the writing, but there is something universally appealing about blood, guts and a rushing gurney. There is no Dr. Feelgood in House, but the patients' symptoms provide a little consolation.
  83. This isn’t crackpot conspiracy theory stuff; the documentary is as serious and somber as its title.... The film ends with a lengthy list of officials who declined to be interviewed, which leaves it one-sided, and it doesn’t go beyond merely asking that the crash get another look: the intent is not to explore who might have fired any missiles that were fired.
  84. It hardly needs saying that Ms. Silverman’s material is not for everybody.... But she isn’t spewing things out randomly, hoping to get by on shock value. The execution is fairly intricate.
  85. There is nothing else quite like it on television, and that is actually saying a lot.
  86. 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.
  87. The series got its start on the Internet and is more linear, unpolished and narrowly comedic than “Girls” on HBO--Abbi and Ilana are so feckless that they make Lena Dunham’s Hannah seem like Warren Buffett.
  88. The first few episodes of Ray Donovan are disappointing--grandiose, predictable and painfully slow.
  89. The casting of the leads is a bit disappointing.
  90. Tony Shalhoub is not the only reason to watch Monk, a smart new detective series on USA, but the intriguing character he and the show's writers have created might have been enough.
  91. The next-best thing to "The Wire."
    • 75 Metascore
    • 50 Critic Score
    Mr. Branagh has teased out every manly rivalry and preserved every hey-nonny-nonny of the kooks in the Forest of Arden, but slashed passages of the repartee that defines Rosalind.
    • 75 Metascore
    • 70 Critic Score
    If Maximum Bob can maintain its off-kilter inventiveness, it could build a following.
  92. The hero of Awake has a psychiatric problem; there are no aliens or ghosts to explain away the more improbable turns, and this adventure is far more compelling.
  93. All the actors are wonderfully credible, even when forced to deal with the occasional creaky line. (Brenda says Nate doesn't know her, and he answers, "Yeah, because you won't let me.") Freddy Rodriguez adds humor as Federico, so talented at restoring corpses that he puts the Humpty Dumpty who was chewed up in the mixing machine back together. And Ms. Conroy's portrayal of the mother is subtle, funny and painful. [1 June 2001, p.E25]
    • The New York Times
  94. Mr. Romano has a knack for hilariously obsessing on life's most ordinary details. He's made for prime-time comedy, and "Everybody Loves Raymond" would seem to be his perfect vehicle. [13 Sep 1996]
    • The New York Times
  95. Family Tree can feel a little loose and inconsequential.... But that also means that we get to spend more time with Mr. Guest’s crack cast of improvisers and there are moments in each half-hour that pay off.
  96. The secret of "The Practice" is that it cloaks these workaday attitudes in just enough glamour and heroism to make an entertaining drama. [4 Oct 1997]
    • The New York Times

Top Trailers