The New York Times' Scores

For 1,340 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
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 622
  2. Negative: 0 out of 622
622 tv reviews
  1. 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.
  2. As with most programs in the illustrated-lecture format (the lecturer in this case being the narrator, Christopher Plummer), the early material is the best. TCM, bless its soul, spends three of the seven hours just getting from Thomas Edison, Georges Melies and the Lumiere brothers through the silent era, and those first three episodes are a treat.
  3. 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.
  4. The ending mars what is otherwise a handsome and well-written effort, with good supporting performances.
  5. Though these people may not resemble any job seekers you know, the portraits feel about as honest as reality TV gets.
  6. We have perhaps grown to expect a certain rhythm in these accounts. A mission accomplished amid much bravery and loss. Memories of horror and heroism carried silently for decades. The Ghost Army reminds us that in a conflict as sweeping as the Second World War, not every story fits that template.
  7. 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.
  8. The show can get overly cute. It's hard to believe that anyone these days, even in remote Alaska, hasn't heard of a bagel, frozen or otherwise. And at one point, a passing reference is made to "St. Elsewhere." Not necessary. But, like Joel, a good many viewers may discover that the characters kind of grow on you. A first-rate cast makes it all the more easy. As Ed says to Joel about the gamey mooseburgers, you'll get used to it. [12 July 1990, p.C22]
  9. 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.
  10. Capaldi's Doctor is not just older but looks to be drier in his humor, more reticent, more coldblooded and dangerous. From a critic’s point of view, that’s interesting and potentially an improvement.... In other ways, the season premiere is a bit of a space holder, a middling story that’s concerned mainly with introducing Mr. Capaldi and establishing the relationship between the new Doctor and his sidekick, Clara.
  11. The 50 Year Argument, which Mr. Scorsese directed with David Tedeschi, is textured and smart but thoroughly celebratory, a paean to the magazine and the amazingly durable Mr. Silvers, now 84.
  12. Season 2 begins on Sunday, and the off-kilter charm is still there, though some strain is beginning to show.
  13. House of Cards is “Scandal” for naysayers and misanthropes, and that’s actually quite cheering.
  14. 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.
  15. A reasonably entertaining though not exceptional science-fiction adventure series with a wild conspiracy plot whose hook is cloning.
  16. "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.
  17. Mostly, though, The Wrong Mans coasts along on the strength of Mr. Corden, Mr. Baynton and Tom Basden’s sneaky-funny writing (“You know what danger doesn’t do? Call ahead. Unless it’s the I.R.A.”) and the pleasure of watching Mr. Corden timidly but delightedly snorting drugs at a mobster’s party or trying to blend in with a group of svelte dancers.
  18. Once the annual avalanche of Halloween-themed episodes, specials and movies overtakes TV, you probably don't expect to be using the word "charming" very often. But charming perfectly describes one such entry, Toy Story of Terror!
  19. In the first two episodes, Scrubs quickly achieves a breezy comic rhythm. Like ''Spin City'' this show operates with deliberate artifice but enough warmth to bring humanity to the characters.
  20. We surely didn’t need another filmed version of Austen’s first published novel--not after Ang Lee’s sublime adaptation of “Sense and Sensibility” 13 years ago--but we are content enough to have this one.
    • 79 Metascore
    • 80 Critic Score
    Mr. Brown has bought into something real: our childlike joy in being fooled.
  21. This is a smart, informative and compassionate look at the artist known as the Godfather of Soul, whose music changed America.
  22. The most endearing comedy about love to come to television since the Manolos were packed up and put away.
  23. It's fascinating, frightening and more than a little exploitative, just like boxing itself.
  24. Even in its sixth season, “24” remains remarkably compelling.
  25. In other words, even the soapier subplots of Lights Out are sparingly written and tautly filmed, and the story never strays too far from the violence that is at its core.
  26. The half-hour Juarez, on Monday night, is a bracing, at times mesmerizing introduction to the Witness series.... The subsequent films are each an hour long, and while all have powerful material, particularly the South Sudan chapter, they're also more diffuse and more prone to sentimentality about the violence and social disorder the photojournalists bear witness to.
  27. The language is supposed to be realistic and maybe it is realistic, but it often feels self-conscious, like an overly thick Southern accent. That's too bad, because when Mr. Simon and Edward Burns, who are credited with the writing of the first five episodes, pull back a bit, they sometimes achieve a rough eloquence.
  28. It's unlikely to achieve television greatness like "M*A*S*H" did, but by Episode 3 it shows signs of becoming an addictive pleasure along the lines of this season's "Revenge."
  29. At least in the early going, the current season avoids the sentimental speechifying about truth and justice that became increasingly prevalent in Season 1. And the let's-put-on-a-broadcast scenes are still reliably entertaining.

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