The New York Times' Scores

For 1,322 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: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 613
  2. Negative: 0 out of 613
613 tv reviews
  1. If your taste runs to old formulas slickly employed, Deception will hold your interest. If you prefer innovation, it probably won't.
  2. 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.
  3. 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.
  4. 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.
  5. What the show lacks in this kind of irreverence it makes up for in plain old addictive soapiness.
  6. It’s an action drama about a cop leading a double life and is itself torn in two directions: aspiring to the latitude and sophistication of cable, but still hamstrung by conventional notions of character development, exposition and taste.
  7. Ms. Rivers is, even in this silly imposture, very funny, making jokes and playing the role of doting grandmother and interfering mother self-mockingly.
  8. 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.
  9. The characters and mishaps on The Goldbergs are predicable, and the writing isn’t clever enough to overcome clichés.
  10. Wyatt's story falls together a little too neatly.
  11. The case of the week and the background story seem to be competing to see which can be sillier.
  12. An unsparing, and at times hyperbolic, portrait of bureaucratic turf wars, buck passing and complacency.
  13. 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.
  14. The plot knots are Gordian, but the writer, Rockne S. O'Bannon, successfully picks them apart. What suffers is the dialogue, which often strains to explain all the science in offhand conversation.
  15. Women’s Murder Club is all right, but not good enough.
  16. Monster In-Laws seems unlikely to offer any real solutions to people with nightmarish in-laws. Its highest function might be simply to enable them to say, "Well, I'm glad it's not just me."
  17. Rosemary’s Baby bends to current fashions, and, accordingly, is more straightforward and much gorier than the original film. But partly because the story has been so altered, it still has mystery and suspense.
  18. The story lines and characters are layered and more intricate than in most detective series.
  19. Throughout, Fall to Grace feels disappointingly safe and formulaic.
  20. Free Agents is not "The Office," but the lead characters are appealing, and the show is funny in its own, quite grown-up way.
  21. 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.
  22. 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.
  23. Mr. Danson has some funny moments, but he is not as comfortable in a comic genre where deadpan takes the place of punch line.
  24. 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.
    • 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.
  25. 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.
  26. Hellcats is basically a soft-porn music video for teenagers.
  27. Another well-plotted show by Donald P. Bellisario.
  28. [A] too glossy, too skeletal procedural.
  29. Mr. Stone brings a more stentorian absolutism, leaving no room for doubt or nuance.

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