The New York Times' Scores

For 1,332 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 4.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Band of Brothers: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 620
  2. Negative: 0 out of 620
620 tv reviews
  1. "Just Shoot Me" does score passing comic points, but all too seldom. [4 Mar 1997]
    • The New York Times
  2. A comedy about the ignominy of life as a member of a catering wait staff, Party Down is a great idea inadequately enlivened by desperation.
  3. Recount, an astute and deliciously engrossing film on HBO this Sunday night, retells the tale of Florida in all its bizarre and inglorious moments, from haggling over the “hanging chad” and “butterfly ballots” to the ruckus between the Florida secretary of state, Katherine Harris, and the Palm Beach County Canvassing Board.
  4. The pilot begins promisingly with Max unfurling an Aaron Sorkin-like rant at a customer foolish enough to snap his fingers to get her attention. But after that there are too many one-liners about semen stains and orgasms that aren't clever, just pronounced very loudly to carry over the titters of a studio audience.
  5. Shameless is deftly adapted and surprisingly appealing, crude, funny and also touching.
  6. It's Gossip Girl tailored to this economy, with just enough campy suspense to be enjoyable.
  7. At least the Sopranos knew how to have fun.... Mr. Momoa and Mr. Henderson acquit themselves well without generating any heat or much of any feeling. The best work is by Julianne Nicholson as Harold’s damaged wife and Zahn McClarnon as a foot soldier in Phillip’s drug operation.
  8. Bates Motel has a talented cast and a memorable back story that guides, but doesn’t limit, the narrative, and at its best it’s intriguing and enjoyably grim. But even more than Norman, the series itself has a split personality, a Hitchcock classic grafted onto a much more mundane brand of suspense. Each new twist moves it further from “Psycho” and closer to Nancy Drew.
  9. Cold Justice picks up considerably in its second episode and seems as if it might be a worthy addition to the genre.
  10. Ms. Margulies never recedes from the scripted egomania; she rams right through it. She remains shrill even in grief.
  11. New Girl is charming and quite funny, but especially when compared with the other two shows, it seems quite old-school.
  12. While it sounds like a one-joke conceit, and a sophomoric one at that, this HBO series is oddly beguiling, a downbeat screwball comedy in R-rated clothing.
  13. Watching the pilot again, though, it became harder to ignore the soap opera underpinnings and the twee sentimentality.
  14. When Zach is performing for the cameras, he’s hammy verging on pathetic, as if he’s starring not in a reality show but a sketch-comedy show about someone with deep feelings of inadequacy..... He’s at his most personable and affectionate when he thinks he’s shooed away the cameras, which are of course still filming, in a more vérité style.
  15. There are new faces this season, and two of the better additions aren’t even journalists. Most important, the narrative this time around is driven by an overarching story line--a libel suit--that pulls viewers past the rocks and eddies of liberal piety. This revamped version of The Newsroom is no less preachy, but it’s a lot more fun to watch.
  16. The result is that the twin aspects of the show, fighting each other for screen time, both end up a little vague and underwritten.
  17. Would You Rather ...? With Graham Norton on BBC America proves that a fair amount of fun can be generated simply by putting people in chairs and letting them crack wise.
  18. Dirty Sexy Money lives up to its name.
  19. The Olympian spirit is all about relentless rigor, steely self-discipline and doing the impossible. Twenty Twelve celebrates sloth, inattention and surrender. There should be a gold medal for that too.
  20. It aspires to distill the news from an African-American perspective, and in two weeks on the air its comedy has been variously anachronistic and plodding, and timely and sharp.
  21. Amid the magnificence of the setting you can forget for a moment that this glossily produced, finely wrought, slightly dull two-night mini-series is actually connected to a piece of British storytelling of even higher standing--perhaps--than “Downton Abbey”: Jane Austen’s “Pride and Prejudice.”
  22. The movie has such cult status that it seems almost sacrilege to tamper with it for television, but as a series 10 Things is not terrible; it is even at times fun. It’s just not very inventive.
    • 66 Metascore
    • 70 Critic Score
    The creators of "Enterprise," Rick Berman and Brannon Braga, don't reinvent Gene Roddenberry's wheel, they just give it a spirited turn. [26 Sep 2001]
    • The New York Times
  23. [A] beautiful, intelligent, imperfect show.
  24. The show may not be quite as artistically or intellectually refined as HBO cult favorites like The Sopranos or Six Feet Under, but Platinum is well made, imaginative and fun.
  25. The first three episodes are beguiling enough to suggest that beneath the show's mystique there is a mystery worth puzzling. But there is also the mystery of how long viewers' curiosity can stay piqued.
  26. [Mom is] both both wittier and sweeter than the new Fox show "Dads."
  27. 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.
  28. The show ends up feeling a lot like the short-lived “Go On,” the Matthew Perry sitcom about a therapy group from the fall 2012 season: lots of quirky characters thrown together in the vain hope that something will jell.
  29. The mixture of "Lost" storytelling and "Paranormal" style is neither intriguing nor particularly scary, and it doesn't help that there's hardly a glimmer of humor.

Top Trailers