The New York Times' Scores

For 1,860 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% 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: 61
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 890
  2. Negative: 0 out of 890
890 tv reviews
  1. A winsome, quick-paced caper that is part “Catch Me if You Can,” part “Shampoo.”
  2. It often feels like the cultural lessons are getting in the way of the genre fun. There’s more conversation than action, and the talk has a tendency to slide into debate, about vigilantism or competing ideas of Harlem or visions of the solitary black hero.
  3. Life on Mars is a smarter, gloomier "Journeyman."
  4. It’s polished, manic, funny and a bit thin; visually, it’s like a toned-down version of the comic-book expressionism of Terry Gilliam.... The two actors are wonderful in their scenes together.
  5. Valentine Road, directed by Marta Cunningham, is clear in its sympathy for Mr. King, but it is also bracingly willing to explore other sides of this disturbing case and complex subject.
  6. Like all zombie stories, The Walking Dead is a life-or-death proposition at nearly every moment. That kind of unremitting intensity stretched over so many episodes can make the question of who survives take on transfixing interest, despite dialogue that’s not always convincing and an uneven cast.
  7. That still makes the series more daring than most of what's on television; the problem is, its creators know that and the show's self-satisfaction becomes annoying. The floundering first episode (the only one available for preview) is sometimes smart, sometimes stupid, eventually gooey and, despite its sharp cast, not often entertaining. One of the season's most hyped and anticipated series, The West Wing is by far its biggest disappointment.
  8. An intriguing new series.... a cyber-age thriller infused with a dark, almost nihilistic pessimism about the Internet, capitalism and income inequality. And that makes it kind of fun.
  9. Beneath the light moments and the spy-versus-spy stuff, the series has a perspective that makes it refreshing.
  10. It’s the kind of lushly produced, complexly plotted series that wraps everything in a wet towel of sentiment.... If you stick with it, though, the sheer weight of the plot machinery and the performances will probably pull you in, beginning about midway through the third episode.
  11. You say darker, I say richer. ... Ms. James and Mr. Thomson lend the stability of skilled veterans to the proceedings, which helps Ms. McNulty do the difficult work of selling a complicated character who is simultaneously vulnerable and proud, self-denying and self-absorbed, practical and prone to fantasy. Her portrayal isn’t seamless, but it’s endearing.
  12. It is an odd and intriguing look at crime scenes, forensic labs and interrogation rooms as a backdrop to the family crises and growing pains of an unhappy teenage girl.
  13. A beguiling new comedy beginning Sunday on HBO, is an intimate, bittersweet look at the travails of a clique of disaffected middle-class friends.
  14. Over all, the most interesting scenes are not those that depict Americans but the less frequent, more unusual ones that show us Vietnamese villagers and Vietcong and North Vietnamese troops.
  15. 'Roseanne' is off to a terrifically hilarious start.
  16. Even when it’s boring, it’s absorbing, like an art video playing in the lobby of a boutique hotel.
  17. The effervescent Ms. Bloom plays her with intelligence; if she’s deluded, it’s because she’s smart enough to fool herself. The script is less consistent, though, and some of the digs at the exurban setting feel condescending. But the early hits outweigh the misses.
  18. A smart look at political power brokers that gets silly on the subjects of sex and violence.
  19. An often fascinating and devastating experience. If it’s not quite as addictive, across seven hours, as the best of its competition, it’s not for lack of effort or craft.
  20. This inventive sitcom is hilarious.
  21. With a deep and perplexing hero, a wide social reach and uncommon eloquence, it instantly takes a place among the best dramas on television.
  22. On the evidence of Friday's season opener, Fringe will continue to be the best show of its kind since "The X-Files" at the grace notes, intimate or humorous instances like Olivia's Crate & Barrel moment (which won't be further spoiled here). When you get the small things right, it's less crucial that your universes and time shifts exactly line up.
  23. “Weeds” is still an outstanding show, but it would be better if it didn’t push so hard to stand out.
  24. Manh(a)ttan provides a cleverly imagined portrait of the men and women who were at the epicenter of that peculiar sovereignty.
  25. If you've seen the many hours of "The Blue Planet" and "Planet Earth," or are a regular watcher of the nature documentaries constantly available on cable, then you've already seen most of what Great Migrations has to offer, or some version of it.
  26. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  27. The premiere episode tends to lapse into a "You go, girl" mode typical of shallow treatments of disability, with fist-pumping and treacly background music.
  28. A teary, perfectly tolerable collection of interlocking stories featuring lots of recognizable actors and two particularly well-etched segments.
  29. The nature-nurture question has always been central to the show: had his upbringing been different, would his genetic makeup still have led him onto the same path? Now the stakes have been raised compellingly in that debate.
  30. The work is different, but personality-wise, Archer and his comrades are much the same. At least at first. The show seems to be giving itself license to explore.

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