The New York Times' Scores

For 1,967 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% 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: 61
Highest review score: 100 Master of None: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 942
  2. Negative: 0 out of 942
942 tv reviews
  1. Uneven ... The series often seems more crude than irreverent, and its satirical targets too familiar and easy to hit. ... However uneven it is now, "South Park" seems to have a future. [17 Aug 1997]
    • The New York Times
  2. Trophy Wife is forced-frivolity mush.
  3. If Mr. Passmore is a little too self-conscious to pull off his character, some of the supporting players fare better, especially Kiele Sanchez as Callie, a nurse who seems poised to become Longworth's love interest, and Carlos Gomez as a forensic medical examiner and Longworth's golf buddy. And though it's virtually impossible to come up with a new spin on dead-body television these days, the premiere of The Glades does end with a tasty twist that makes you want to come back for Episode 2.
  4. Plenty of places for this series to take its engaging leads, one of the odder crime-fighting pairs on TV, doing battle against one of TV’s creepier-looking if expressionless bad guys.
  5. The humor of Making History, created by a writer for “Family Guy” and “Dads,” is broad, sometimes borderline gross and pop-culture inflected. ... The jokes are also, with some regularity, funny and endearing, especially when delivered by Mr. Lester or Ms. Meester, whose portrayal of an earnest proto-feminist is the show’s best weapon.
  6. Mr. Fellowes emphasizes Trollope’s humor without shortchanging the melodrama, and the production has the feeling of a high-def tribute to an earlier era of British film and television (emphasized by the use of old-fashioned fonts for the credits)--it achieves a kind of rollicking serenity.
  7. It’s a reality show, as droll and frivolous as “The Newsroom” was serious.
  8. Strike Back won't make anyone forget "24" or "MI-5" or even "The Unit," but it has its pleasures for the aficionado of guns and flesh in exotic locales.
  9. "Threshold" holds back more than it reveals, and that is the right contingency plan for a successful science fiction thriller.
  10. Like some past Showtime comedies (“Happyish,” “Nurse Jackie”), SMILF has an unsteady tone, swerving from emotional realism to quirkiness to slapstick raunch to abrupt fantasy sequences, in roughly descending order of what works best. There’s a riffing, open-mic quality to the first three episodes, as if the show were still trying on personalities.
  11. Those Elaine moments are the real allure of this series -- a chance to see Ms. Louis-Dreyfus once again portray an insensitive, aggressive neurotic trapped in the body of a petite, attractive woman.
  12. Ambitious setups like this don't always hold up, but Revolution has the potential to be a more disciplined "Lost"--not necessarily more plausible but with any luck less preposterous and pretentious.
  13. The movie has some bright spots, but so much of it revolves around the resident diva of the title camp that it’s hard to focus on the good stuff; you’re too annoyed at having this lazily imagined character shoved down your throat for the zillionth time.
  14. While there are moments that are downright laughable, Scandal has flair and even sophistication.
  15. Chance keeps threatening to blossom into the mordant comedy it ought to be, but the dawdling pace and a general dreariness of mood keep it tied down.
  16. The show is called Conan, but it felt at times as if it should have been labeled "I'm Not Jay."
  17. Watch the film for a well acted Cliffs Notes version of the book--intriguing and thought provoking, but also frustrating.
  18. The many layers of feints and puzzles are compelling, but it’s hard to see how they can last more than a season or two.
  19. The executive producers, Shana Goldberg-Meehan and Greg Malins, both worked on "Friends," and the jokes in Better With You have the polish and the off-center, sneakily funny quality that marked that show. But the single-family multigeneration setup seems to have facilitated an undertone of nastiness and desperation in the humor, most clearly expressed in the condescending portrayal of the youngest couple.
  20. The family is Short, the stories are short, and a short word describes the overall feel: wan.
  21. Like “Mr. Robinson,” it’s a cliché-filled mélange featuring terrible acting. But at least it tries to be more, and occasionally it succeeds.
  22. It’s hard to make an impression in a genre so heavily worked, especially with a series drawn from a moderately popular movie, but Frequency is in good hands and has promising ingredients.
  23. It's decent popcorn TV, if you've got nothing better to do.
  24. Mr. Allen's sitcom may well work, although by the second episode it already shows uneasy signs of cuteness bloat. [17 Sep 1991]
    • The New York Times
  25. Enjoyable but not exhilarating, engaging but not hypnotic.
  26. The palette is brighter, and the mood is more mellow, but over all this version of "Law & Order" follows the basic template that worked for 20 years-- through world crises and catastrophes and, within the show, numerous cast changes and rebootings.
  27. Too many of the other characters’ crises seem boilerplate, giving the whole enterprise the feel of a condensed soap opera or an exercise from a playwriting class.
  28. It has more of the feel of a traditional family sitcom than the louder, jokier competition on Nickelodeon, but the humor is still pretty broad and the plotting blunt for anyone outside that age group.
  29. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  30. The 11-year-old boy at the center of the story has never spoken and is also the show's narrator. It's a perfectly acceptable device, if not a particularly interesting one in this case.

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