The New York Times' Scores

For 1,561 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 4.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Master of None: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 739
  2. Negative: 0 out of 739
739 tv reviews
  1. This half-comic, half-serious soap opera à clef could be awful, but instead it is surprisingly fun.
  2. Trust Me, a TNT series set in a Chicago advertising agency, is clever and likeable.
  3. The bad news is that this potentially rich stew of frights and kink has been underspiced: Asylum, so far, doesn't have the energy or the over-the-top inventiveness that Season 1 eventually displayed.
  4. If Dangerous Minds had really been interested in such thorny issues, it might have been onto something. Instead, the conversation simply serves to shine Ms. Johnson's halo. That's not exactly credible for a show that pretends to depict gritty reality. [30 Sept 1996, p.C16]
    • The New York Times
  5. Both the humor and the storytelling can be blunt. But the performances are mostly appealing--the ensemble really seems to be having fun--and the jokes often slip past you more quietly than you expect.
  6. While its story lines appear to be as staged as those of "Start-Ups," it has a depressed, workaday vibe that makes it by far the superior show.
  7. Maybe the writers will eventually stop making Maggie and Emma sound like high school ditzes and start giving them grown-up dialogue that matches their grown-up situation. Until that happens, the main attraction here is Keegan-Michael Key of the delicious Comedy Central show “Key & Peele.”
  8. An eclectic comedy that is smarter than mainstream fare like "Last Man Standing" but still feels like comfort food.
  9. This is an impressive production. The cast is generally quite good; Ms. Martin is extraordinary, making Christy's fresh-faced innocence utterly captivating on these beautiful and sometimes dangerous mountains.
  10. It’s an enjoyable, straightforward espionage tale without a lot of twists or extra layers.
  11. Requiem doesn’t delve deeply enough to be anything but a blame-the-gun film.... The film is less helpful on the hard questions than it thinks it is, and watching it feels more exploitative than revelatory.
  12. There is an appealing cheekiness to the show’s insistence on dressing up hunch work as the purview of serious science.
  13. The mush outweighs the wit, with episodes ending on tides of sentiment.
  14. The break-in may never take place, but the characters are appealing, and the writing is spirited enough to carry the sitcom at least for a while.
  15. There is plenty to enjoy, but not much to applaud. At its best fashion celebrates originality; The Fashion Show feeds on imitation.
  16. The writing is not witty enough to carry the material, which is not even very original.
  17. Noah read his material with good timing, shifting from sly to authoritative to snarky. What’s less clear yet is if he can be off-the-cuff funny.
  18. The question is what they'll be given to do going forward, beyond generic relationship material, domestic comedy and the occasional action set piece.
  19. Bored to Death is as idiosyncratic and delightful in its own way as “Curb Your Enthusiasm."
  20. Rock Center is still a work in progress, so it's hard to judge how it will fare.
  21. This is not perhaps the most daring or avant-garde comedy on television, but there is nothing shameful about Hot in Cleveland. It's actually kind of fun.
    • 64 Metascore
    • 50 Critic Score
    [Cooper's] presence [is] almost engaging enough to redeem an overstuffed, overbaked first episode.
    • 64 Metascore
    • 80 Critic Score
    The appeal of this new sitcom, which Fox is unveiling tomorrow night, is its universal heart.
  22. Up All Night could use more backup players and more imaginative writing. Most of all, the show has to get over its fear of offending.
  23. [The Real World] has been steadily evolving into the year's most riveting television, a compelling portrait of twentysomethings grappling with the 90's. ... Should "The Real World" be kept going much beyond these 13 episodes? I doubt it. There really isn't much happening.
  24. The series is well written, and has its moments.
  25. The episodes are not as layered or intricately constructed as Mr. David’s “Curb Your Enthusiasm,” but the humor is fueled by a similar jolt of the politically incorrect.
  26. Very little that Mr. Fox, or anyone else, does in The Michael J. Fox Show, which starts on Thursday night, will force you to laugh. Everything about his return to sitcom stardom is mild, tucked in, determined not to offend.
  27. The narrative structure of the show is incredibly satisfying: During each hour a crime is committed and solved, as Charlie’s search for who might have framed him provides the overriding arch, satisfying our short attention spans and taste for long-form narrative at once.
  28. Like Bravo's fashion winner "Project Runway," the channel's promising "Top Chef" flaunts terms of art and insiderism to give it authority.
  29. Covert Affairs is fun and clever and Ms. Perabo has panache in the role.
  30. The series aims for the sass and fast-paced escapades of “Raiders of the Lost Ark” and such. That requires a comic tone and timing that haven’t quite gelled in the early going, though John Larroquette as Jenkins, the librarians’ minder, helps considerably when he finally shows up in the second of Sunday’s two episodes.
  31. 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.
  32. 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
  33. Trophy Wife is forced-frivolity mush.
  34. 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.
  35. 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.
  36. It’s a reality show, as droll and frivolous as “The Newsroom” was serious.
  37. 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.
  38. "Threshold" holds back more than it reveals, and that is the right contingency plan for a successful science fiction thriller.
  39. 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.
  40. 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.
  41. 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.
  42. While there are moments that are downright laughable, Scandal has flair and even sophistication.
  43. The show is called Conan, but it felt at times as if it should have been labeled "I'm Not Jay."
  44. 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.
  45. 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.
  46. The family is Short, the stories are short, and a short word describes the overall feel: wan.
  47. Like “Mr. Robinson,” it’s a cliché-filled mélange featuring terrible acting. But at least it tries to be more, and occasionally it succeeds.
  48. It's decent popcorn TV, if you've got nothing better to do.
  49. 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
  50. Enjoyable but not exhilarating, engaging but not hypnotic.
  51. 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.
  52. 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.
  53. 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.
  54. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  55. 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.
  56. 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."
  57. Beautifully shot and sublimely silly, Sense8 is slower than “The Matrix” and not nearly as thrilling.
  58. 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.
  59. 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.
  60. The story is framed by the outsize absurdities of show business, but Doll & Em is a character study in miniature.
  61. 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.
  62. 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.
  63. The series has something to offer besides sexual imagery and sophistry -- it is a well-written, entertaining show, with or without the L word.
  64. 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.
  65. 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.
  66. Golden Boy is a smoothly made but entirely generic show that rides the squad-room-as-family metaphor hard.
  67. They explore the numbers behind things you thought you knew and things you ought to know, but this is no blackboard exercise.
  68. Season 3 begins with both ACN and Mr. Sorkin in a tamped-down, focused mode. That’s generally a good thing.
  69. A predictable mix of violence, sex and sentimentalism.
  70. 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.
  71. 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.
  72. 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.
  73. 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
  74. The models themselves are incidental on Scouted, merely empty planets around which revolve some fascinating characters and plenty more dull ones.
  75. Ground Floor doesn’t make much of an impression initially. But stick with it for three or four episodes and it grows on you.
  76. The shock bar is set pretty high, but Season 7 proves up to the task, if subtly. For the new football season, the league switches from a snake draft to an auction draft.
  77. 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.”
  78. 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.
  79. 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.
  80. 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.
  81. 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.
  82. 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.
  83. The office scenes are by the far the series's funniest, showcasing an arrogant and idiotic boss who talks in screwball staccato.
  84. 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.
  85. There are not many signs that the show is taking a turn toward anything better--more realism, more audacity, less sentimentality.
  86. This version is palely faithful to the original without any of its seditious zest.
  87. 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.
  88. 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.
  89. Guided by an ambient lunacy, the show resists forced restlessness, settling in and fleshing out its characters’ idiosyncrasies instead.
  90. 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.
  91. Grandfathered is as winningly cast as “The Grinder”--Mr. Stamos manages to be smarmy and charming at the same time--but its supporting characters need development.
  92. 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.
  93. 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."
  94. 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.”
  95. A spunky upgrade over the collection of interchangeable police procedurals clogging the television schedule.
  96. 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.
  97. 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.
  98. The first two episodes of The Muppets, which has its debut on Tuesday, are sometimes funny and have flashes of the original’s charm. But they also reflect a definition of “adult” that could stand to grow up.

Top Trailers