The New York Times' Scores

For 1,295 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 4.8 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 598
  2. Negative: 0 out of 598
598 tv reviews
  1. The series is acted with razorlike timing. [21 Sept 1998, p.E5]
    • The New York Times
  2. The series is a clever update, not to say rip-off, of “The Mary Tyler Moore Show,” set behind the scenes at an NBC comedy show rather than in a television newsroom, and it is very funny.
  3. On "State of Play" and Prime Suspect, ordinary men and women take center stage and hold it beautifully. [16 Apr 2004, p.E1]
    • The New York Times
  4. What is implied elsewhere is confronted aggressively in the terrifically restive FX drama Rescue Me.
  5. Even the smaller parts are skillfully sculptured. James McDaniel, trailing outstanding stage performances in "Six Degrees of Separation" and "Someone Who'll Watch Over Me," is quietly controlled as the police lieutenant who must cope with Sipowicz's racist outbursts, among other things. And Nicholas Turturro, John's kid brother, is engaging as a young and eager policeman named Martinez.
  6. [Dr. Oz's presence is not] fatal to the enjoyment provided by the eight hours of NY Med, and we can also forgive the familiar situations and stock characters.
  7. After watching the rest of what is a very promising pilot, we are left with the unpleasant aftertaste of saccharin. A passing miscalulation, or a harbinger of episodes to come? Bring on the series. [15 Sept 1986, p.C14]
    • The New York Times
  8. Here is some of the freshest and most disarming material the comedy scene has been able to claim in a long while.
  9. It’s a fine show, relying on slow-building tension rather than the gory shock value of series like “The Following,” and the five-episode arc now on Netflix is worth a look if you haven’t had your fill of cat-and-mouse dynamics.... Oddly, the character developed the least may be Ms. Anderson’s.
  10. The real-time approach can't seem as innovative the second time around, but it is still used to great effect ... The glaring weak spot is Jack's teenage daughter, Kim (Elisha Cuthbert). [29 Oct 2002]
    • The New York Times
  11. Friday Night Lights (which begins Wednesday on DirecTV, the satellite subscription service that is helping finance it, and moves to NBC in February) is delivered with the precision and manner of ethnography--it never condescends.
  12. Presumably the producers’ realization of what they had in Maria and her bright, gorgeous, unfettered children led to the bifurcated structure of the series, and it’s the ups but mostly downs of her last eight months on earth that make Time of Death worth watching.
  13. Everyone is clearly having a good time, and the fun is catching. One should be grateful for that much, perhaps, but the sheer professionalism cannot entirely hide some potential weaknesses. A little too much of the humor is directed at ridiculing certain signs of aging, from having hair in one's ears to incontinence. Bathroom jokes have their limitations. And Miss Getty's character threatens to demolish the ensemble work with the need to get a laugh every time she opens her outrageous mouth. [14 Sept 1985]
    • The New York Times
  14. Now it's a compliment to say that Season 3 does: Paul's relationships with his new patients are as finely etched as before. The writing may seem a little less sophisticated--each session offers incremental insights about the patient that can seem a bit pat or forced--but over all In Treatment is still an absorbing dramatization of psychotherapy.
  15. The story of the Dust Bowl is complicated, twisting together ecology, economics and politics, as well as divisions of class and region, and Mr. Burns and his writer, Dayton Duncan, have done as careful and admirable a job as you would expect in laying it out.
  16. Alice Morgan (Ruth Wilson), whose braininess extends to an expertise in physics and an acute ability to help Luther unravel the most advanced criminal minds. The two circle each other dangerously, their chemistry both bizarre and addicting.
  17. What really sets Key & Peele apart are the stars’ performances.
  18. Wartorn sometimes starts to feel prim and preachy. But it also has its share of quietly devastating, haunting scenes, echoes of the nightmares that veterans are bringing home with them from Iraq and Afghanistan.
  19. Where Sagan’s narrative often approached poetry, Dr. Tyson’s can sound like an overwrought, overamplified planetarium show.... The animation used to present his story resembles low-budget anime and isn’t terribly absorbing. Bruno deserves better. Nit-picking aside, if the new Cosmos doesn’t deliver quite the punch of the original, it’s because this isn’t 1980.
  20. While there are some deeply disturbing images, The Honorable Woman is an astute, sensitive and at times delicate psychological drama that is evenhanded in the nonincendiary sense of the word: No side is entirely to blame, and there are villains, innocent victims and foolish dupes on both sides.
  21. While Mr. Douglas glides through the film--demonstrating that his talent for portraying carnivorous lechery and polished duplicity works regardless of sexual orientation--and Mr. Damon is earnest and committed, the love, or whatever it was, between Thorson and Liberace never comes into emotional focus.
  22. It thrives as radical comedy because it challenges one of our most preciously held assumptions: that parenthood is ennobling, rewarding work; that it grounds us and makes us marginally better people.
  23. The television adaptation is surprisingly scary and remarkably good, a show that visually echoes the stylized comic-book aesthetic of the original and combines elegant suspense with gratifyingly crude and gruesome slasher-film gore.
  24. There are no mediocre performances here.
  25. Little Dorrit is as rich at the margins as at the center with strange, and strangely believable, characters from almost all levels of society, rendered in quick, firm strokes.
  26. For about an episode and a quarter, it’s very good television. But over the rest of its six-episode first season it resembles nothing so much as a bad indie film, the kind of slow and tepid bummer that used to fill Sundance’s late nights and afternoons when it was a full-time movie channel.
  27. Happy Valley, in addition to being a smart and absorbing thriller, is a morality play, one in which the mystery is secondary (we know who did what all along).
  28. A worthy and exhilarating new HBO companion to "Curb Your Enthusiasm."
  29. Reaper is not at all grim; it’s actually quite rewarding.
  30. The result is surprisingly interesting, fun and, at times, even quite moving.

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