The New York Times' Scores

For 1,306 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% 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 The Office (UK): Season 2
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 602
  2. Negative: 0 out of 602
602 tv reviews
  1. Storage Wars is an especially entertaining addition to the genre. Who doesn't love the sound of an auctioneer's voice? Beyond that, the four buyers on whom the show focuses are well chosen, and the "reveals"--the moments when the buyers see what they've acquired and get estimates of its value--are great fun.
  2. The pleasant ambience, however, can't entirely obscure the mystery story's inability to deliver.
  3. Intriguing.
  4. Mr. Romney is likable in this depiction. But little in Mitt suggests that he is also electable.
  5. Hello Ladies is a diverting curiosity, nice to look at and good for a few squirmy laughs.
  6. Watching Mr. Williams return to the kind of improvisation-style routines that made him famous in the 1970s is bittersweet, like watching Jimmy Connors play tennis again: they are still impressive, but audiences can’t help recalling how much more elastic and powerful they were at their peak.
  7. The lines are too blunt, but with its mix of crime-solving and wit, this series could be the unexpected winner among the new crime shows. [6 Oct 2000, p.E30]
    • The New York Times
    • 58 Metascore
    • 70 Critic Score
    The made-in-the-U.S.A. jalopy Singing Bee is much more flawed yet more human and endearing.
  8. A quest romance in which Middle Earth is essentially Route 66, that national treasure, and some of its burned-out byways.
  9. As silly as [it] sounds, the series is actually pretty good.
  10. Loud, coarse and life-of-the-party vulgar...Pure blue-collar shtick, dressed up with the usual sexual-potency and bathroom jokes. [3 Apr 1987, p.30]
    • The New York Times
  11. Explain it does, at great length but with very little wonder.
  12. Mr. Fiennes is fun to watch as an arrogant, punked-out Merlin; he's much more interesting than Jamie Campbell Bower, whose lightweight Arthur, to this point, doesn't appear to deserve all the attention he's getting....Best of all is Ms. Green, the Bond girl and Bernardo Bertolucci dream object, as Arthur's sister and rival (known here as Morgan). Her intensity is a good match for the show's gloomy-doomy, psychologizing mood.
  13. The series needs to work more on the writing and less on the lighting to make these particular characters welcome week after week.
  14. Together Mr. Grammer and Ms. Heaton lift Back to You, a comedy that begins tonight on Fox, into a surprisingly amusing half-hour.
  15. The series is bold in its candor and unhurried attention to detail, but not quite brave enough to lay bare the bleakest, pettiest injuries that can scar a marriage.
  16. The Assets is uneven, with some excellent scenes and quite a few bad ones.
    • 58 Metascore
    • 40 Critic Score
    The mock documentary has funny moments -- small, keenly observed sendups of the entertainment industry -- but for the most part The Comeback is the saddest comedy on television.
  17. The series itself seems divided: at times a supersize fable told with portentous, and even turgid, simplicity, while at others, a sophisticated spoof that uses ancient legend to send up modern politics. And when a series cannot be both, it ends up being neither.
  18. Red Band Society has a tone that is both sassy and sorrowful, a carefully calculated balance of humor and sentiment. The pilot episode, however, leans too heavily on emotional tugs.
  19. Mr. Kring has assured interviewers and fans that the third season will correct those mistakes and recover the fast-paced suspense and tension of the first season. The premiere episode lives up to that pledge, with lots of violence, special effects and laser-fast editing. The plot and ever-escalating conspiracies are hard to follow, but even first-time viewers can easily get the gist.
  20. If the various kinks work themselves out, The Finder will at the least be a medium-strength entry in the increasingly crowded field of comedy-dramas featuring eccentric characters.
    • 58 Metascore
    • 70 Critic Score
    Played straight, it would surely be tiresome. But presented as an off-kilter spoof, and draped around a winningly drawn central character, the premise has promise.
  21. Modestly scaled and clever.
  22. Happy Endings is both a retro version of "Friends" and a more superficially progressive one.
  23. It is surprisingly appealing. Talk shows depend less on the topic at hand than the chemistry in the room, and The Chew has tapped five very different and amusingly mismatched hosts.
  24. The surprise is that at least from the peppy pilot, it’s possible that this might actually work reasonably well.
  25. Much of the time in the early episodes is spent on the preparations for this mission [for one last big score] and on laying out a complicated network of alliances and animosities, and it gets to be a slog. Helping to keep us interested are Mark Ryan, providing a comic touch as a grizzled quartermaster, and Luke Arnold as a not-so-charming rogue named John Silver, not yet Long.
  26. Dollhouse has an amusing premise, but the universe it inhabits in the early episodes is thin and bland.
  27. The semi-improvised Z Rock has its moments, none of which can be described adequately here.

Top Trailers