The New York Times' Scores

For 1,339 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 Thurgood
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 621
  2. Negative: 0 out of 621
621 tv reviews
  1. Mr. Woods has found a television role that suits his gift and runs away with it.
  2. The pilot was shot on location in southern Africa and is dazzlingly filmed; the cinematography alone stands out. But it’s the hero’s duality--he’s a good Samaritan with a flawed personality--that helps make The Philanthropist an unusual and exhilarating network series.
  3. Irresistibly, corrosively funny.
  4. The characters are intriguing in a lightweight way but could lose their appeal fast. Remember when Austin Powers was a brilliant comedy creation, the thawed-out 90's secret agent who still operated by 60's social standards? The joke just wasn't good enough to hold up three (and probably more) films, although that hasn't hurt the films at the box office. The clones, like Austin, may turn out to be a one-joke invention.
  5. 'Unscripted' is a small thing, but it has funny and clever moments. [7 Jan 2005]
    • The New York Times
  6. "Day Break" has enough suspense and clever turns to tempt viewers to stay and see how the next day breaks.
  7. The pleasant ambience, however, can't entirely obscure the mystery story's inability to deliver.
  8. Clerk Terryn Buxton is the seemingly unsuspecting source of most of the show's laughs....He's also the avenue for the note of moral reproof that inevitably seeps into what is a mostly straightforward show.
  9. The strained '40s-speak starts to recede in the third episode (four were sent to critics), and, not coincidentally, the performances begin to improve--what looked like community theater acting in the pilot suddenly seems more natural.
  10. The gore is plentiful, the tone is inconsistent, and by the end only one thing is undeniably clear: Mockingbird Lane is a very different creature from "The Munsters."
  11. The program may not contain any startling revelations about its five principal subjects, Cornelius Vanderbilt, John D. Rockefeller, Andrew Carnegie, J. P. Morgan and Henry Ford. But based on the first episode, it certainly gives them a modern-day relevance, perhaps unintentionally.
  12. Most of what went on in between was rather stilted, which is to be expected when new hosts take over a long-established show, and this one has been around for 17 years. But even on Day 1, there were signs of where The View is headed, and it’s likely to be more tame.
  13. Everybody, though, is well meaning and enormously attractive. Even Damone, banned from Disneyland, dressed like a rummage sale and generally recognized as the school sleaze, is basically likable. That is what makes the show moderately interesting. It might also be noted that there is no laugh track. That makes Fast Times almost courageous.
  14. What was a show about bickering but loving roommates is now a show about, to paraphrase Aidan's narration, living on the dark side. Unfortunately it's not a very interesting place.
  15. Low Winter Sun is so clotted with bleak cityscapes, shadowy interiors and brooding portent that the narrative sags under the weight of all that mood-setting.
  16. Finding Sarah isn't really all that helpful as an inspirational story or even as a cautionary tale. [...] But the series provides an invaluable lesson in celebrity self-help.
  17. Resurrection starts out well enough.... All too soon, however, the mystery turns into soapy melodrama, and the supernatural is superseded by the clichés of network drama.
  18. What follows is a neutralization of assets--sure, there’s a story line, but one that only convinces us what a dull doorknob Belle really is.
  19. Punk'd accomplishes something you might not have thought possible: It makes you miss Ashton Kutcher.
  20. The show works because Ms. Applegate is the kind of comic actress who could never be completely believable as a goody-two-shoes. She puts a healthy ironic distance between herself and that dreaded entity, the better person her character must become. You look in her eyes, and, happily, you see a recidivist.
  21. It comes as close to resurrecting the old show as you can without hauling Jerry Seinfeld himself back on television.
  22. Like the relationship the series feels unfinished, not altogether there in its understanding of itself.
  23. In “Once Upon a Time,” the multiple time streams were clever at first but proliferated to a point of wearying confusion. Wonderland skips straight to bewilderment.
  24. The family conflicts are facile and easily resolved on Back in the Game, but Terry is an appealing heroine, and she has an amusing new best friend.
  25. Too often The Real L Word feels like sitting in a restaurant and hearing about some incredible specials that happen to be sold out. Anything genuinely interesting seems to have already taken place.
  26. A so-so, meandering soap opera that reduces its central character to a set of clichés about missing fathers and American energy and egalitarianism.
  27. Las Vegas is as flattering to companies like the MGM Mirage Inc. as "The Love Boat" once was to Princess Cruises. Yet the show still manages to be slick, fast-paced and engaging, a remake of the remake of "Ocean's Eleven," in which all the good-looking people work for the casino, not against it.
  28. Undercover Boss, a CBS reality show that turns the tables on management, seems tailor-made for the anticorporate rancor of the times, but if anything, it paints too rosy a picture of white-collar benevolence.
  29. Presumably Legends is meant to seem more serious than those shows ["Rizzoli & Isles" and "Major Crimes"] and skew more male in its viewership, but it succeeds only in being more mechanical, predictable and thin.
  30. Explain it does, at great length but with very little wonder.

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