The New York Times' Scores

For 1,815 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% 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 Thurgood
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 860
  2. Negative: 0 out of 860
860 tv reviews
  1. When you do sketch-style comedy, though, you’re only as good as your next idea, and in two subsequent episodes the situations aren’t as distinctive. Jay Baruchel gives Josh an appealing blend of desperation, gallantry and squirming calculation. He’s carrying all the weight, though: The cast includes Eric Andre as Josh’s pick-up-artist best friend, Britt Lower as his sister and Maya Erskine as his ex, but none of their characters are more than foils.
  2. The ideas in V, about alien encounters and mass delusion and media manipulation, are enticing. It’s too bad that they’re floating around in a show that at this early stage, is so slapdash and formulaic in its storytelling.
  3. The good bits are hilarious; the others often kind of just lie there.
  4. The music, costumes, lighting and even some camera shots--a shower head, a spiral staircase--all evoke classic Hitchcock movies like "Psycho," "Spellbound" and "Vertigo." But the film loses steam as soon as Hitchcock acts on his passion.
  5. Socially, that reversal is a profoundly stupid idea. There's too much sexual stereotyping around, too much of a lingering sense that what makes a man a playboy makes a woman a slut. And The Bachelorette is hardly trying to explode those cliches. With its hokey title (a word no one ever uses) and its smarmy attitude (viewers are going to be looking for signs of sluttiness), this gimmicky series plays right into those stereotypes while pretending not to...The show also promises to be as irresistibly entertaining as "The Bachelor."
  6. It looks like a zillion other workplace reality shows.
  7. The subtext of Kitchen Nightmares is that ordinary middle-class business owners need brash and brilliant moguls to save them from a sad reliance on their own mediocrity. It is an ugly message that Mr. Ramsay makes undeniably hypnotic.
  8. All in all, it wasn’t an unpleasant revisiting of a great musical; it just wasn’t a particularly coherent or revelatory one.
  9. This is a treatise on personalities rather than systems, its bantering sensibility recalling something more along the lines of "Ocean's Eleven" than "Law & Order: Criminal Intent."
  10. Madam Secretary has some good moments, but it would be better if its heroine were just a little bit worse.
  11. This is the world of “Weeds” a few tax brackets lower, and the sense of emptiness is as aggressively conveyed.
  12. This glossy, gossipy look at the Renaissance in the time of Machiavelli isn't a history lesson, it's a lurid family drama that happened to change the course of history.
  13. The comedy in the show is a grab bag, sometimes subtle, sometimes self-consciously outlandish.
  14. "Just Shoot Me" does score passing comic points, but all too seldom. [4 Mar 1997]
    • The New York Times
  15. 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.
  16. 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.
  17. 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.
  18. The show is essentially one joke--“You shouldn’t say/do that around children”--told a bunch of different ways.... The Katydids’ tastes run toward the vulgar. That is generally to the show’s detriment--it would be funnier if it didn’t mistake crass for cutting-edge so often.
  19. Shameless is deftly adapted and surprisingly appealing, crude, funny and also touching.
  20. It's Gossip Girl tailored to this economy, with just enough campy suspense to be enjoyable.
  21. 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.
  22. Credibility aside, the slow disintegration plays out in satisfyingly tense if formulaic fashion.
  23. 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.
  24. Cold Justice picks up considerably in its second episode and seems as if it might be a worthy addition to the genre.
  25. Prominent entertainment figures direct programs on six scientific challenges facing the world, and the results are interesting enough. They’re just not especially revolutionary, unlike some of the work they document.
  26. Ms. Margulies never recedes from the scripted egomania; she rams right through it. She remains shrill even in grief.
  27. New Girl is charming and quite funny, but especially when compared with the other two shows, it seems quite old-school.
  28. 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.
  29. Watching the pilot again, though, it became harder to ignore the soap opera underpinnings and the twee sentimentality.
  30. 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.

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