The New York Times' Scores

For 1,494 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 Undeclared: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 702
  2. Negative: 0 out of 702
702 tv reviews
  1. What's different about Life's Too Short, and what makes it watchable, is that Mr. Davis--who portrayed Filius Flitwick in the "Harry Potter" films, as well as multiple "Star Wars" Ewoks--is so good at playing Mr. Gervais's stock character.
  2. Uneven ... The series often seems more crude than irreverent, and its satirical targets too familiar and easy to hit. ... However uneven it is now, "South Park" seems to have a future. [17 Aug 1997]
    • The New York Times
  3. Trophy Wife is forced-frivolity mush.
  4. 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.
  5. Plenty of places for this series to take its engaging leads, one of the odder crime-fighting pairs on TV, doing battle against one of TV’s creepier-looking if expressionless bad guys.
  6. It’s a reality show, as droll and frivolous as “The Newsroom” was serious.
  7. Strike Back won't make anyone forget "24" or "MI-5" or even "The Unit," but it has its pleasures for the aficionado of guns and flesh in exotic locales.
  8. "Threshold" holds back more than it reveals, and that is the right contingency plan for a successful science fiction thriller.
  9. Those Elaine moments are the real allure of this series -- a chance to see Ms. Louis-Dreyfus once again portray an insensitive, aggressive neurotic trapped in the body of a petite, attractive woman.
  10. Ambitious setups like this don't always hold up, but Revolution has the potential to be a more disciplined "Lost"--not necessarily more plausible but with any luck less preposterous and pretentious.
  11. The movie has some bright spots, but so much of it revolves around the resident diva of the title camp that it’s hard to focus on the good stuff; you’re too annoyed at having this lazily imagined character shoved down your throat for the zillionth time.
  12. While there are moments that are downright laughable, Scandal has flair and even sophistication.
  13. The show is called Conan, but it felt at times as if it should have been labeled "I'm Not Jay."
  14. The many layers of feints and puzzles are compelling, but it’s hard to see how they can last more than a season or two.
  15. The executive producers, Shana Goldberg-Meehan and Greg Malins, both worked on "Friends," and the jokes in Better With You have the polish and the off-center, sneakily funny quality that marked that show. But the single-family multigeneration setup seems to have facilitated an undertone of nastiness and desperation in the humor, most clearly expressed in the condescending portrayal of the youngest couple.
  16. Like “Mr. Robinson,” it’s a cliché-filled mélange featuring terrible acting. But at least it tries to be more, and occasionally it succeeds.
  17. It's decent popcorn TV, if you've got nothing better to do.
  18. 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
  19. Enjoyable but not exhilarating, engaging but not hypnotic.
  20. The palette is brighter, and the mood is more mellow, but over all this version of "Law & Order" follows the basic template that worked for 20 years-- through world crises and catastrophes and, within the show, numerous cast changes and rebootings.
  21. Too many of the other characters’ crises seem boilerplate, giving the whole enterprise the feel of a condensed soap opera or an exercise from a playwriting class.
  22. It has more of the feel of a traditional family sitcom than the louder, jokier competition on Nickelodeon, but the humor is still pretty broad and the plotting blunt for anyone outside that age group.
  23. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  24. The 11-year-old boy at the center of the story has never spoken and is also the show's narrator. It's a perfectly acceptable device, if not a particularly interesting one in this case.
  25. 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."
  26. Beautifully shot and sublimely silly, Sense8 is slower than “The Matrix” and not nearly as thrilling.
  27. It tries to combine elements of American mob stories and Scandinavian mysteries, seasoned with frequent overt references to "The Sopranos," but the mixture is pretty flat in the first episode.
  28. Rather than have the opportunity to respond to events in real time, the show is left to tackle broad themes like fame and television’s golden age. And often, the conversations are edited in a way that appears to clip discourse short just as it takes off.
  29. The story is framed by the outsize absurdities of show business, but Doll & Em is a character study in miniature.
  30. It's neither here nor there: low on sci-fi mystery and intrigue and not yet convincing as ensemble drama. Right now it feels like the beta version.
  31. It’s creepy, steamy and funny at times, and it’s also a muddle, a comic murder mystery that is a little too enthralled with its own exoticism.
  32. The series has something to offer besides sexual imagery and sophistry -- it is a well-written, entertaining show, with or without the L word.
  33. This Good Marty/Bad Marty dynamic may prove more fruitful for the show in the long run than the well-worn punching bag that is corporate America.
  34. This may all seem assembled from a paint-by-numbers kit, but it clicks nicely, thanks to a lively group of supporting players who include Fred Melamed as a judge and Jolene Purdy as an intern.
  35. Golden Boy is a smoothly made but entirely generic show that rides the squad-room-as-family metaphor hard.
  36. They explore the numbers behind things you thought you knew and things you ought to know, but this is no blackboard exercise.
  37. Season 3 begins with both ACN and Mr. Sorkin in a tamped-down, focused mode. That’s generally a good thing.
  38. A predictable mix of violence, sex and sentimentalism.
  39. It’s like watching old episodes of “Served” or “Keeping Up Appearances” or “Allo Allo”: slightly horrifying, like a slow-motion train wreck, but also, every few minutes, convulsingly funny. This has everything to do with Mr. Jacobi and Mr. McKellen.
  40. At its best the show’s language is inventively and diversely funny, drawing laughs in two or three or four different ways within the space of seconds.... There are moments, though--and they come more often as the episode goes along--when the tone turns a little more earnest and brushes up against the sentimental.
  41. The story lines and dialogue may be a bit too cute and contrived to hold viewers’ interest for long. It’s the cast, which includes Ana Ortiz of “Ugly Betty” and Judy Reyes, who played Carla on “Scrubs,” that commands attention.
  42. This time the wrenching together of genres is tortured. In its rough first episode on Fox tonight, Firefly is even more of a confusing mess than the description makes it sound. It's a crazy quilt of "Star Wars," "Mad Max" and "Stagecoach," just to mention the most obvious films it calls to mind. [20 Sept 2002, p.E26]
    • The New York Times
  43. The models themselves are incidental on Scouted, merely empty planets around which revolve some fascinating characters and plenty more dull ones.
  44. Ground Floor doesn’t make much of an impression initially. But stick with it for three or four episodes and it grows on you.
  45. The pilot is terrific, and it was directed by Phillip Noyce, whose credits include the Harrison Ford movie “Clear and Present Danger” and the pilot of ABC’s “Revenge.”
  46. The filmmaker Lasse Hallstrom has directed the pilot with cool, almost metallic tones, as if trying to conceal the show’s distorted bedrock sentimentality. He can’t.
  47. If Queer as Folk worked better as drama, its characters would be more fully defined and would speak to both straight and gay viewers more easily. The series is not harmed by its gay perspective but by its limited aesthetic reach.
  48. In a way it's as paradoxical as its subject: a big, lusty but surprisingly timid look at the bold pioneers and profiteers who ravaged nature to build a nation.
  49. The mood of dark comedy isn’t sustained. Factory quickly devolves into a meaningless slapstick of goofy faces and a forced awkwardness that suggests the vision of someone who has watched “Curb Your Enthusiasm” over and over but has still not figured out what makes it so funny.
  50. Yes, there are awful caricatures among the male characters too, but at this moment it’s the female ones who really grate.... It’s all supposed to be mindless fun, but the jokes are too unsophisticated and unoriginal to justify the damage.
  51. The office scenes are by the far the series's funniest, showcasing an arrogant and idiotic boss who talks in screwball staccato.
  52. It takes things nice and easy, ending with a lot still to be conveyed as to who is who and what is what in this lush show about the police and the mob in 1947 Los Angeles. But your patience is likely to be rewarded. Episode 2, also being shown on Wednesday, brings things nicely into focus, and prospects seem good that this six-episode series will be a satisfying trip back in time.
  53. There are not many signs that the show is taking a turn toward anything better--more realism, more audacity, less sentimentality.
  54. This version is palely faithful to the original without any of its seditious zest.
  55. Satisfaction is the most daring, because it’s not really a comedy, and that makes its intent oblique and quasi-European.... The series picks up as it moves away from the couple’s problems and into the complications Neil’s new career creates.
  56. Detroit 1-8-7 is a lovingly updated tribute to shows that were on the air so long ago that almost none of the detectives were black.
  57. Guided by an ambient lunacy, the show resists forced restlessness, settling in and fleshing out its characters’ idiosyncrasies instead.
  58. After the first few episodes it remains unclear who, or what, is behind the mayhem, so points, as cringe making as it is to acknowledge, for suspense. The show has missing cash, stolen cash, a freaky black sheep and a menacing brother-in-law.
  59. Mr. Tennant (here playing an American) and Anna Gunn of “Breaking Bad” pair quite well.... If you’re in search of a show to curl up with as the weather grows colder, you could do worse.
  60. American Horror Story has the potential to be a lot of fun, if that style and cleverness can be eventually coupled with characters we care about and a narrative that feels less like a haunted house sampler, stitched with threads of Stephen King, Hammer Films and Lars von Trier's TV series "The Kingdom."
  61. It’s a smart, imaginatively made and unusually sweeping look at what happened to the world from Sarajevo in 1914 to Hiroshima in 1945, or as Churchill put it, “one story of a 30 years’ war.”
  62. A spunky upgrade over the collection of interchangeable police procedurals clogging the television schedule.
  63. The sane and well-meaning series Mike & Molly (executive produced by Chuck Lorre, a creator of "Two and a Half Men" and "The Big Bang Theory") begins on CBS on Monday. A comedy about life lived not in the low triple digits of the bathroom scale, this is network television of the old school.
  64. The film jumps eras willy-nilly, and never settles on a narrative of how the role of chief of staff has evolved over the years.
  65. Mr. Davies appears to have struggled with the material...But his dialogue is as sharp as ever, and there are excellent scenes between Sarah and Mrs. Beddows (Penelope Wilton), her champion on the school board, and Sarah and Robert (David Morrissey), the conservative landowner she wins to her side (in more ways than one).
  66. Without the underpinning of droll characters who make you feel their pain, this Inbetweeners is mostly predictable and vulgar.
  67. The details of those bargains and interrelationships among the inhabitants of the Drake will no doubt be fleshed out in subsequent episodes. But the premiere, at least, hasn't found a way to make this odd mix of high-end real estate and B-movie occultism compelling enough that you're eager for more.
  68. Luckily for NBC, which bought the rights to the British comedy, only a relatively small number of viewers in the United States have seen the BBC version. Those happy few should try to erase every trace from their brains -- Eternal Sunshine of the Digital Cable Mind -- because the NBC series, though it pales in comparison, is still funnier than any other new network sitcom.
  69. "Black.White." is most impressive as a feat of cosmetology.
  70. Gervais serves as a bullying sidekick to Mr. Pilkington and steps out of the way, letting his strange and funny collaborator take the lead. The series is not a full-blown comedy show; it's a collection of Web-styled sketches and proof that big laughs can come in small doses.
    • The New York Times
  71. This might be more amusing if Shane and Kim were more expressive or interesting, but neither evinces much personality.
  72. Housewives of New Jersey is more farcical, less phony and a lot more fun.
  73. This, insidiously, is science fiction as extreme midlife crisis. As Lattimer puts it, “I’m trained to take a bullet if necessary, but I’m not sure how to stop a dead Italian cougar.” Or, he might have added, deeply stupid plots.
  74. Greek is a decidedly unromantic teenage soap opera.
  75. An odd and sympathetic show beginning Sunday that's part episodic biography, part comeback tale and part confrontation therapy.
  76. An able cast led by Andie MacDowell and Dylan Neal makes it stand out from the stream of interchangeable Hallmark movies that aim for the same tone and audience.
  77. A show that’s drab and underwritten, with potentially amusing (if familiar) situations that never build to more than a chuckle or a nod of recognition.
  78. Dorian has potential, but Kennex, at least in the pilot, is as grim and humorless as they come. He needs to loosen up.
  79. What looks like a flat noir thriller could still make for a pretty entertaining police procedural.
  80. It needs a lot more moments like the one when the samurai girl bursts through a door to find her chauffeur on the verge of disemboweling himself. “Seriously?” she asks, eyeing the knife in his hands. “Seppuku?”
  81. The writing is smart and the episodes well structured, but much of the credit goes to Mr. Kinnear, who maintains a veneer of charm without stinting on his character’s underlay of seedy desperation.
  82. The jokes don’t catch fire in Tuesday night’s opener, but by the second episode things are starting to click.
  83. Matador is definitely B-level--serviceable dialogue, not-quite-cartoonish characters, gimmicky editing--but it’s not grindhouse.
  84. [A] glossy, silly, intermittently entertaining new series.
  85. A sophisticated, suspenseful comedy of ill manners that seems much more like a Showtime or Netflix drama than a broadcast network offering.
  86. The mini-series and its characters are all over the map, stylistically, seeming unable to find the right tone for the time period.
  87. Made jointly by the BBC and HBO, House of Saddam is well told and often lurid, a saga that blends the dirty work of despotism with the rituals of family gatherings, sibling rivalries and marital discontents.
  88. The cast is too appealing to make Californication as genuinely distasteful as it tries to be. And at the same time the writing is too broad to make it genuinely good.
  89. Over all, Necessary Roughness is enjoyable, a lighthearted look at football that takes a therapist in suburban Long Island seriously.
  90. The suspense is effectively maintained in this high-seas whodunit. [22 Sep 1995]
    • The New York Times
  91. The writers of the series have left themselves plenty of possibilities to explore, and Mr. Wilson seems more than capable of carrying the show anyplace they choose to take it.
  92. The Following ... is one of the most disturbing procedural dramas on television, in its own way creepier than similar network shows and even cable series like "Dexter" or "Breaking Bad" or "The Walking Dead." It's hard to turn off and even harder to watch.
  93. It is a credit to the casting scouts of Bravo that they managed to sign up a crew of women every bit as uninhibited and ostentatious as their predecessors.
  94. The series is slick and usually interesting, but until the final episode (covering the debate over withdrawal from Iraq), not completely compelling television.
  95. In this age of "Desperate Housewives" and "The O.C.," it is refreshing to see a television show whose heroines aspire to meaningful work as well as meaningless sex.
  96. Despite some amusing bits and clever songs, it’s only occasionally as much fun as it ought to be.
  97. 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.
  98. True Detective is monochromatic and self-serious, but it builds suspense with finesse and has a keen appreciation for the poetry of political corruption and urban decay. That makes it intriguing, just not enthralling.
  99. Ms. Coughlan somehow manages to lay low in the part and let supporting actors propel the comedy.
  100. 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

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