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 The Office (UK): Season 3
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. 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.
  2. 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.
  3. 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.
  4. 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.
  5. The office scenes are by the far the series's funniest, showcasing an arrogant and idiotic boss who talks in screwball staccato.
  6. 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.
  7. There are not many signs that the show is taking a turn toward anything better--more realism, more audacity, less sentimentality.
  8. This version is palely faithful to the original without any of its seditious zest.
  9. 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.
  10. 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.
  11. Guided by an ambient lunacy, the show resists forced restlessness, settling in and fleshing out its characters’ idiosyncrasies instead.
  12. 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.
  13. 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.
  14. 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.
  15. 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."
  16. 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.”
  17. A spunky upgrade over the collection of interchangeable police procedurals clogging the television schedule.
  18. 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.
  19. 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.
  20. 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.
  21. Mr. Davies appears to have struggled with the material...But his dialogue is as sharp as ever, and there are excellent scenes between Sarah and Mrs. Beddows (Penelope Wilton), her champion on the school board, and Sarah and Robert (David Morrissey), the conservative landowner she wins to her side (in more ways than one).
  22. Without the underpinning of droll characters who make you feel their pain, this Inbetweeners is mostly predictable and vulgar.
  23. The details of those bargains and interrelationships among the inhabitants of the Drake will no doubt be fleshed out in subsequent episodes. But the premiere, at least, hasn't found a way to make this odd mix of high-end real estate and B-movie occultism compelling enough that you're eager for more.
  24. Luckily for NBC, which bought the rights to the British comedy, only a relatively small number of viewers in the United States have seen the BBC version. Those happy few should try to erase every trace from their brains -- Eternal Sunshine of the Digital Cable Mind -- because the NBC series, though it pales in comparison, is still funnier than any other new network sitcom.
  25. "Black.White." is most impressive as a feat of cosmetology.
  26. Gervais serves as a bullying sidekick to Mr. Pilkington and steps out of the way, letting his strange and funny collaborator take the lead. The series is not a full-blown comedy show; it's a collection of Web-styled sketches and proof that big laughs can come in small doses.
    • The New York Times
  27. This might be more amusing if Shane and Kim were more expressive or interesting, but neither evinces much personality.
  28. Housewives of New Jersey is more farcical, less phony and a lot more fun.
  29. This, insidiously, is science fiction as extreme midlife crisis. As Lattimer puts it, “I’m trained to take a bullet if necessary, but I’m not sure how to stop a dead Italian cougar.” Or, he might have added, deeply stupid plots.
  30. Greek is a decidedly unromantic teenage soap opera.

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