The New York Times' Scores

For 1,492 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 NYPD Blue: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 702
  2. Negative: 0 out of 702
702 tv reviews
  1. Now it's a compliment to say that Season 3 does: Paul's relationships with his new patients are as finely etched as before. The writing may seem a little less sophisticated--each session offers incremental insights about the patient that can seem a bit pat or forced--but over all In Treatment is still an absorbing dramatization of psychotherapy.
  2. While Mr. Douglas glides through the film--demonstrating that his talent for portraying carnivorous lechery and polished duplicity works regardless of sexual orientation--and Mr. Damon is earnest and committed, the love, or whatever it was, between Thorson and Liberace never comes into emotional focus.
  3. Happy Valley, in addition to being a smart and absorbing thriller, is a morality play, one in which the mystery is secondary (we know who did what all along).
  4. The program has a fair amount of feel-good filler about the bond between the dogs and their handlers, but when it comes to showing these pairs at work, it is blunt and disturbing.
  5. A brisk and concise 82-minute film.
  6. Wartorn sometimes starts to feel prim and preachy. But it also has its share of quietly devastating, haunting scenes, echoes of the nightmares that veterans are bringing home with them from Iraq and Afghanistan.
  7. The story of the Dust Bowl is complicated, twisting together ecology, economics and politics, as well as divisions of class and region, and Mr. Burns and his writer, Dayton Duncan, have done as careful and admirable a job as you would expect in laying it out.
  8. What really sets Key & Peele apart are the stars’ performances.
  9. Everyone is clearly having a good time, and the fun is catching. One should be grateful for that much, perhaps, but the sheer professionalism cannot entirely hide some potential weaknesses. A little too much of the humor is directed at ridiculing certain signs of aging, from having hair in one's ears to incontinence. Bathroom jokes have their limitations. And Miss Getty's character threatens to demolish the ensemble work with the need to get a laugh every time she opens her outrageous mouth. [14 Sept 1985]
    • The New York Times
  10. Absurdity is the only real agenda here, and The Tick hits that target. Whether that is enough remains to be seen. The daffiest shows sometimes flame out early, and in its aggressive incongruity The Tick is certainly a descendant of "Police Squad," an experimental classic that lasted just a few episodes.
  11. While there are some deeply disturbing images, The Honorable Woman is an astute, sensitive and at times delicate psychological drama that is evenhanded in the nonincendiary sense of the word: No side is entirely to blame, and there are villains, innocent victims and foolish dupes on both sides.
  12. It thrives as radical comedy because it challenges one of our most preciously held assumptions: that parenthood is ennobling, rewarding work; that it grounds us and makes us marginally better people.
  13. The television adaptation is surprisingly scary and remarkably good, a show that visually echoes the stylized comic-book aesthetic of the original and combines elegant suspense with gratifyingly crude and gruesome slasher-film gore.
  14. For about an episode and a quarter, it’s very good television. But over the rest of its six-episode first season it resembles nothing so much as a bad indie film, the kind of slow and tepid bummer that used to fill Sundance’s late nights and afternoons when it was a full-time movie channel.
  15. It’s an exceedingly watchable history lesson.
  16. Reaper is not at all grim; it’s actually quite rewarding.
  17. Little Dorrit is as rich at the margins as at the center with strange, and strangely believable, characters from almost all levels of society, rendered in quick, firm strokes.
  18. The result is surprisingly interesting, fun and, at times, even quite moving.
  19. There is nothing supernatural behind the mystery, and there is no deep-rooted government conspiracy lurking behind seemingly mundane events. But suspense builds, personalities strengthen and change, and “The Nine” takes on a life of its own.
  20. A worthy and exhilarating new HBO companion to "Curb Your Enthusiasm."
  21. Vikings has benefited all along from the accomplished, subdued performances of a number of its cast, including Mr. Byrne, Mr. Roache, Clive Standen as Ragnar’s warlike brother and both Nathan O’Toole and Alexander Ludwig, who play Ragnar’s son Bjorn at different ages. But the heart of the show remains Mr. Fimmel’s smirking, withdrawn, not quite good but certainly distinctive performance as Ragnar.
  22. 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.
  23. There are no mediocre performances here.
  24. "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.
  25. Both “Bored to Death” and Curb Your Enthusiasm have heroes who are hell-bent on doing the impossible and are doomed to fail. And it’s impossible not to prefer them just as they are.
  26. 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.
  27. Damages borrows heavily from the front page, and that keeps it interesting.
  28. 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.
  29. The plot twists of The Hour can at times be puzzling, but the series is never dull.

Top Trailers