The New York Times' Scores

For 1,472 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 4.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 NYPD Blue: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 694
  2. Negative: 0 out of 694
694 tv reviews
  1. This glossy tribute is enjoyable; it is just not memorable.
  2. Most of the screen time goes to Ms. Madsen, and she works hard to pump some life into the script's mild zingers.
  3. The Messengers certainly offers enough in its premiere to be worth a return visit next week, just to see where it’s going.
  4. A lighthearted, quite charming medieval adventure series made by the BBC, is tailored to the age of Obama.
  5. It’s not an embarrassment for the channel, but it doesn’t raise the stakes either.
  6. Mr. Wahl has the kind of brooding good looks that could attract ratings - that is, if the public is ready for still another blood-and-guts romp on television.
  7. It’s a solid start, and were this the first series of its kind, King & Maxwell would seem like a sure hit. That it’s working the same territory as various other well-made shows costs it some luster, but it could still settle in as a reliable schedule filler.
  8. The largely unknown cast is game and not unskilled, but it can't make up for the familiar situations and unremarkable dialogue.
  9. Mr. Kring has assured interviewers and fans that the third season will correct those mistakes and recover the fast-paced suspense and tension of the first season. The premiere episode lives up to that pledge, with lots of violence, special effects and laser-fast editing. The plot and ever-escalating conspiracies are hard to follow, but even first-time viewers can easily get the gist.
  10. This latest hardboiled-but-dedicated babe with a badge follows all the clichés of the genre but knows it and will find ways to twist the formula in novel, interesting ways.
  11. Big Driver is slimmer in content, as well as form, than “Misery,” but it is nonetheless gripping. The television adaptation, however, doesn’t adjust for the power of a graphic depiction of assault, rape and sodomy. And that violence, when juxtaposed with the jaunty, Cabot Cove tone, undercuts the movie’s message of payback and empowerment.
  12. If the acting can get to a level above a robotic stiffness that recalls old Saturday-matinee movie serials, Babylon 5 could prove fun to have around.
  13. It has the feeling of pizza with pineapple on it — which is to say, not actually for grown-ups.
  14. 1600 Penn has charm and some funny riffs, but it's a 2013 sitcom that at times seems like it was written in 1983.
  15. Offering prefab middle-of-the-road stardom, "American Idol" is entertaining, but not for the reasons its producers like to pretend. The open secret that the show's creators and its fans choose to ignore is that the music and arrangements are trite, full of wannabe Whitney Houston and Stevie Wonder wails. Originality is a losing strategy. But the series does have a stroke of commercial genius, as it shrewdly combines elements from a smattering of other series into one big marketable soup. It's "Survivor" with a soundtrack.
  16. The remake has everything that those earlier versions had and something more: Tracey Ullman and Carol Burnett together and at each other's throats.
  17. The result is a production even more fantastically soapy than the first, visually elevated by an apocalyptic video-game look in which the orgiastic sex and violence are presented with a studied, syncopated choreography.
  18. The characters don’t live up to the swirling, often violent action that surrounds them.
  19. It's a typical David E. Kelley creation in all the wrong ways: ensemble drama as a steel-cage match of emoting and moralizing, with lectures and grand gestures given precedence over coherent storytelling. His usual saving graces, sharp characterization and unforced humor, aren't in evidence through three episodes.
  20. "Miracle Workers" has its share of the tears and phony drama we've come to expect in television-as-savior programs, but at its best it's more documentary than reality show.
  21. Despite all those [Louisiana] touches, the pacing is slower, the jokes more labored, the personalities more wooden.
  22. Icy-dry satire laced with moments of farce and inspired lunacy.
  23. Like everything else in the MacFarlane arsenal, The Cleveland Show relies heavily on pop-cultural references (and many of them are pretty funny), but the rhythm and pacing can feel like a slow-dripping faucet.
  24. Some of the stories are touching, but the formula is set and stagy. The viewer has no doubt that the episode will end with a job offer and floods of thankful tears.
  25. The documentary doesn't pretend to be anything other than a homage to a good man who served his country well in war and peace.
  26. Turning Dracula into a fanged insurgent battling ruthless oligarchs is a nifty idea, and the electricity plot allows for diverting steampunk-meets-“Bride of Frankenstein” visuals. But nothing about the show is as much fun as it should be. The storytelling is slow and anemic, spelling everything out at length.
  27. No one appearing on Melrose Place 2.0 is nearly that dreadful, and the one-liners that remind us that we are not watching the television of a historic golden age retain the zesty camp of the series’s first iteration.
  28. It was a cautious, please-all production, but it took guts to do it.
  29. Clings to proven formulas.
  30. After the shift to the Resurrection, A.D. manages to deliver some effective scenes as Mary Magdalene (Chipo Chung), Peter (Adam Levy), John (Babou Alieu Ceesay) and others come to realize that Jesus has fulfilled his promise to rise again. The producers can’t rein in their tendency toward excessive effects and overwrought dialogue, but they seem at least to be proceeding at a more patient pace.

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