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. Plain Jane is more than shopping spree and vocabulary builder; it betrays a cockamamie respect for the therapeutic process, and it shouldn't be giving too much away to tell you that the snails lose, that the plain Janes blossom, and that no stimulus money has been wasted along the way.
  2. In its astonishingly raunchy way, The League is pretty funny whether or not you’re a fantasy geek, assuming you’re a TV-MA kind of person.
  3. Each slight, breezy half-hour is fresh and funny.
  4. The insipid pop music that cues emotional moments is annoying, but the writing isn't. And the characters are more interesting than their headshots would suggest.
  5. Across the four early episodes provided for review, Pierce's hallucinations are already beginning to feel like stunts covering up for a lack of ideas.
  6. The directionless but well-shot archival footage dates to 2011, when Kesha led her first headlining tour, and was filmed by her brother Lagan, among others, which explains the access, the duration of filming and the intimacy.
  7. Atmosphere is all the series has going for it. Remy's murder investigations never become suspenseful. And the slow-burning sexual attraction between Remy and Anne works better in a film than in a series. Drawing the relationship out over several episodes, The Big Easy becomes "Moonlighting" without the wit. [10 Aug 1996, p.19]
    • The New York Times
  8. An unsparing, and at times hyperbolic, portrait of bureaucratic turf wars, buck passing and complacency.
  9. The case of the week and the background story seem to be competing to see which can be sillier.
  10. Five contestants face a potential employer in a ridiculously tarted-up competition format that results in a job offer for one of them.
  11. Ms. Greer and Mr. Faxon are talented comedians, but the writing isn’t quite up to their abilities.... The show improves when Russ leaves the house and hangs out with his bitter, profane best friends.
  12. There’s no sign yet that “Happy Town” deserves the “Twin Peaks” comparisons that it so badly wants.
  13. The Gates is a satire--a cheaply enjoyable one--of suburban lust and maternal anxiety, psycho-social forces that delivered previous generations of women to the pages of Betty Friedan (or Redbook) but that today send a certain kind of young matron to the perverse romance of vampire media.
  14. The characters and mishaps on The Goldbergs are predicable, and the writing isn’t clever enough to overcome clichés.
  15. It’s a television series as a prolonged [car] commercial, and it absolutely crosses the line.
  16. Ms. Rivers is, even in this silly imposture, very funny, making jokes and playing the role of doting grandmother and interfering mother self-mockingly.
  17. Sticking with Cupid requires a certain attachment to the idea of a Claire-Trevor love connection, one apparent only in moody glances and pronounced opposition rather than in even the faintest semblance of chemistry. In any other series Claire and Trevor would go out for a hot dog once and realize that they were actually much better off with their respective exes.
  18. The series follows the supernaturally themed "Heroes," but it is to its predecessor what a cookie made with Splenda might be to a mille-feuille. Journeyman just feels squeamish.
  19. Women’s Murder Club is all right, but not good enough.
  20. Wyatt's story falls together a little too neatly.
  21. The program overstates its case, suggesting that modern-day forensics wouldn’t exist without Holmes. That’s like saying there would have been no lunar landing without Jules Verne or no organ transplants without Mary Shelley.
  22. As is so often the case, the premiere episode tries too hard and isn’t as funny as it could be. The writing loosens up later on, and has some charm.
  23. Fear Itself, which is directed by a platoon of horror film veterans (including the Hong Kong auteur Ronny Yu), delivers a lot of ripped flesh and spilled blood--terrible things happen, in particular, to lips and teeth--in the service of very little terror or discomfort.
  24. It’s reasonably smart, reasonably interesting and reasonably well acted without being particularly good.
  25. TV Land proves again that no one in basic cable does a more proficient, professional job of executing and packaging traditional sitcoms. What’s not so admirable: the creator and writer Matthew Carlson’s pilot script.
  26. The story lines and characters are layered and more intricate than in most detective series.
  27. Adrien Brody, was recruited for the title role, and he’s a treat to watch. The script, though, is less than he deserved.
    • 51 Metascore
    • 40 Critic Score
    The performers are pleasant enough, and Ms. Remini almost gives Carrie some zing. But they can't overcome the stale setup.
  28. Patrick Swayze’s performance as an ungoverned F.B.I. man in The Beast, a new crime drama beginning on Thursday on A&E, is impressive for its resistance to cliche and remarkable for the mere fact of its execution.
  29. At least in the early stages, the series is quite entertaining. But over all, the mini-series suffers from defensive storytelling; it's a narrative driven in splintered directions less by inspiration than by avoidance.

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