The New York Times' Scores

For 2,036 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% 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 978
  2. Negative: 0 out of 978
978 tv reviews
  1. Remains bracingly rude and funny.
  2. Mr. Oyelowo gives a riveting, disorienting and suspenseful tour of an unraveling mind. The music and cinematography are artful, but the props are mundane.
  3. Nip/Tuck is a shrewdly written drama without intellectual pretensions. It is a dark satire that manages to be as engrossing as a soap opera.
  4. The most visually sensual series perhaps ever seen on television.
  5. Fargo is becoming an expertly made meta-concoction, a remix of a remix. ... The effect of the casting [of Ewan McGregor as the two brothers] isn’t to show the brothers’ similarity, but how life and circumstance have shaped them so differently. It’s remarkable, and no mere stunt.
  6. Lady Dynamite has its own bizarre-sincere voice and its own dream logic. It’s something else, in a good way: a journey to the center of Ms. Bamford’s mind that dives through fantasy after loopy fantasy and emerges with something real.
  7. A blistering, demented animated series.
  8. GLOW is blessedly its own thing. It’s nostalgic, but it’s more than the sum of its soundtrack and hair spray. Its ratty mid-80s Los Angeles of motels and skate punks feels specific and lived in. Like last summer’s Netflix breakout, “Stranger Things,” GLOW is a hulking creature sewn together from pop-cultural scraps, but when it steps into the ring, it reveals itself as a true original.
  9. Deadpan lunacy has never worked better for Mr. Shandling and his splendidly merry gang of featured players. [22 Jun 1994]
    • The New York Times
  10. Everyone in this layered show has cover stories, divided loyalties, mixed emotions and hidden motives. The complexity of the characters drives the narrative as much as the car chases and ultrasecret missions.
  11. A worthy and exhilarating new HBO companion to "Curb Your Enthusiasm."
  12. The Wonder Years is at least off to an unusually winning start.
  13. 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]
    • The New York Times
  14. Nothing on network television is as smart, original and amusing as Entourage.
  15. The second season of “Sleeper Cell” burrows even deeper into the mind-set of Muslim extremists than the first and is all the better and more troubling for it.
  16. One of the best shows on television. ... The show, which prides itself on unvarnished realism, is almost willfully jagged and hard to follow. But it is just as hard to turn off.
  17. The absurdist comedy and hallucinatory visuals match the series’ take on Hollywood as a reality-distortion field. But the series never takes an attitude of easy superiority to its showbiz characters. At heart, BoJack Horseman is a comedy about lonely people (and animals) who are never by themselves. That melancholy spirit comes through beautifully in the stunning fourth episode of the new season.
  18. As cheerfully goofy and bizarrely on target as ever. [19 Jul 1995]
    • The New York Times
  19. The Americans has created a crowded bulletin board of characters and subplots, and this new season struggles to pin the yarn to connect them all. But each resonates with the others, like movements in a melancholy symphony.
  20. It takes at least two episodes for David's TV persona - the cantankerous, self-absorbed Hollywood writer whose best intentions always go horribly awry - to regain some degree of cozy familiarity. And that discomfort is one of the things that make Curb Your Enthusiasm so unusual and so funny. [3 Jan 2004]
    • The New York Times
  21. As pleasurable as its tale is grim.
  22. 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]
    • The New York Times
  23. Its fifth season is in fine, familiar form.
  24. The original title, "Keep Hope Alive," is funnier, but Raising Hope better suits a very funny sitcom that leavens its satire with sympathy.
  25. It’s a vehicle for two graying actors that gives both a chance for tour-de-force performances, and in the new television version Monday on Starz, a couple of esteemed veterans, Anthony Hopkins and Ian McKellen, get about as much out of the tale as there is to get.
  26. This is event television given a memorably wicked spin. Nothing like it has ever been seen on network prime time.
  27. 'The Wire' has become one of the smartest, most ambitious shows on television. With its attention to detail and its shifting points of view -- we spend equal time inside the heads of cops and criminals -- it is also one of the most novelistic, now more than ever before. [19 Sep 2004]
    • The New York Times
  28. The Returned is mesmerizing television.... The first three new episodes complicate the plot more than advance it.... But the questions are tantalizing. Like HBO’s “The Leftovers,” this is a gorgeous, full-hearted drama about grief, rich with metaphor.
  29. 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.
  30. The Leftovers grasps an outlandish idea with absolute emotional commitment: The performances in this final run are spectacular throughout, but especially Ms. Coon’s and Mr. Theroux’s. The final season sometimes repeats the first two, from the use of dream imagery to specific story beats like a business trip Nora takes (recalling “Guest,” a Season 1 standout episode). Because it depends so much on callbacks, it’s designed more to cater to the show’s faithful than to expand its flock.

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