The New York Times' Scores

For 1,263 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 4.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Sopranos: Season 3
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 580
  2. Negative: 0 out of 580
580 tv reviews
  1. Damages borrows heavily from the front page, and that keeps it interesting.
  2. "Elizabeth I" was made for television and is not a lavish, big-budget production. Visually, it is no match for the 1998 movie. But what "Elizabeth I" does offer is not insignificant: a richly drawn portrait of a powerful woman who is both ruthless and sentimental, formidable and mercurial, vain and likable.
  3. It's the Lovings, not Loving v. Virginia, that hold our attention. Their reticence, even under such close camera scrutiny, is intriguing and even charming.
  4. The smooth telling of Russo's story juxtaposed against the present day, when gay marriage is sanctioned in some states and gay characters are all over prime-time television, drives home how different the cultural landscape is from the one Russo knew.
  5. Despite these quibbles, Children of Earth is still good fun, if not good, exactly.
    • 81 Metascore
    • 70 Critic Score
    A likable if lightweight not-too-dramatic series.
  6. Dharma and Greg are so cloying they make the happy, well-adjusted Buchmans on "Mad About You" seem like Bonnie and Clyde.
  7. The plot twists of The Hour can at times be puzzling, but the series is never dull.
  8. You might assume that this meant sacrificing some measure of journalistic credibility in the quest for attention. But the truth is, Mr. Ford and Mr. Cheadle are just as good as any seasoned television correspondent at the newsmagazine drill.
  9. The writers do a good job of layering surprises and plot twists. It may not be Raymond Chandler, but Veronica Mars is nevertheless quite hard-boiled. [22 Sept 2004, p.E4]
  10. Generation Kill, which has a superb cast and script, provides a searingly intense, clear-eyed look at the first stage of the war, and it is often gripping. But like a beautiful woman who swathes herself in concealing clothes and distracting hats, the series fights its own intrinsic allure.
  11. This quietly addictive program isn't really about what goes on inside the Big Apple's single ring. It's about the people, both under the lights and behind them, who make those performances possible.
  12. The advice here is to forget the politics and enjoy the performances and the trip back in time.
  13. It feels as if the attention that should have gone to the storytelling all went to the atmosphere and the repartee.
  14. Though the setting has shifted from New York to Los Angeles, the look and feel of the show are essentially unchanged, with Heidi Klum and her Valkyrie manner still doing the hosting and Tim Gunn continuing to bring an Oxford don’s comportment to his sartorial mentoring.
  15. On "Seinfeld," this cranky sensibility was filtered through likable actors. Here, nothing stands between the audience and Mr. David's acerbic vision and morose face. There is every reason to despise the man, or at least to feel irritated by his narrowness and self-pity. Instead, for those who aren't immediately put off, Mr. David's comic brilliance becomes even more apparent in this unvarnished form. [13 Oct 2000]
  16. Deadwood is not easy to watch. There is no musical score; the settings are relentlessly dull and depressing; and it is shot almost entirely in shades of sepia and gray. The series takes its own time establishing the characters, and the dialogue is muffled and indistinct. But once the story takes hold, it is hard to turn away. Like laudanum, a good western can be habit-forming.
  17. "Desperate Housewives" is entertaining, but it turns the clock back to pre-Betty Friedan America, lampooning four bored, frustrated, white upper-middle-class ladies who lunch.
  18. The engineering of the plot is pretty obvious, and the sentimentality that’s part of the Harmon package goes overboard toward the end of the episode.... Everything is back on track, though, in Thursday night’s second episode, a sterling example of Mr. Harmon’s ability to deploy fanboy obsessiveness in the service of funny and affectionate storytelling.
  19. The Wonder Years is at least off to an unusually winning start.
  20. The ending mars what is otherwise a handsome and well-written effort, with good supporting performances.
  21. Though these people may not resemble any job seekers you know, the portraits feel about as honest as reality TV gets.
  22. All the President’s Men Revisited is nonetheless well worth a look, less because it is so well made than because the subject is still so captivating.
  23. The Challenger investigation story doesn’t have quite the level of malfeasance or the cloak-and-dagger undertones of other movies about real-life government or business debacles. But it still makes for an absorbing tale, one that seems well timed for our current moment of bungled websites, unrestrained eavesdropping and public skepticism.
  24. The second season has style and suspense, but it’s harder to keep viewers guessing when the characters are so familiar, and the time-scrambling format is no longer as novel.
  25. Season 2 begins on Sunday, and the off-kilter charm is still there, though some strain is beginning to show.
  26. House of Cards is “Scandal” for naysayers and misanthropes, and that’s actually quite cheering.
  27. If you are not averse to the Dungeons & Dragons aesthetic, the series might be worth the effort. If you are nearly anyone else, you will hunger for HBO to get back to the business of languages for which we already have a dictionary.
  28. There is, admittedly, a fine line between being hilariously perceptive and just plain, even objectionably, silly. While habitually teetering on that line, 'The Simpsons' has shown a remarkable ability to come down on the right side most of the time.
  29. That ensemble may be enough reason to spend 12 hours or so at the fictional Litchfield prison, even if the drama occasionally lags. It’s a surprisingly congenial place.

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