The New York Times' Scores

For 1,699 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 4.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Kids in the Hall: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 809
  2. Negative: 0 out of 809
809 tv reviews
  1. 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.
  2. As cheerfully goofy and bizarrely on target as ever. [19 Jul 1995]
    • The New York Times
  3. 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.
  4. 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
  5. As pleasurable as its tale is grim.
  6. 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
  7. Its fifth season is in fine, familiar form.
  8. The original title, "Keep Hope Alive," is funnier, but Raising Hope better suits a very funny sitcom that leavens its satire with sympathy.
  9. 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.
  10. This is event television given a memorably wicked spin. Nothing like it has ever been seen on network prime time.
  11. '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
  12. 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.
  13. 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.
  14. 'Roseanne' is off to a terrifically hilarious start.
  15. Mad Men beguiles like a Christmas catalog of all the forbidden vices, especially smoking, drinking and social inequity. Yet the series is more than a period piece. It’s a sleek, hard-boiled drama with a soft, satirical core.
  16. The year's most substantial new series. [7 Oct 1991]
    • The New York Times
  17. The Killing is as bleak and oppressive as any, but it's so well told that it's almost heartening.
  18. Irresistibly, corrosively funny.
  19. An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
  20. All the actors are wonderfully credible, even when forced to deal with the occasional creaky line. (Brenda says Nate doesn't know her, and he answers, "Yeah, because you won't let me.") Freddy Rodriguez adds humor as Federico, so talented at restoring corpses that he puts the Humpty Dumpty who was chewed up in the mixing machine back together. And Ms. Conroy's portrayal of the mother is subtle, funny and painful. [1 June 2001, p.E25]
    • The New York Times
  21. "Family Guy" stands to become the best satire of all-American dysfunction next to "The Simpsons." [29 Jan 1999]
    • The New York Times
  22. Ed is a throwback, a hopeful, pixilated Capra character who wants to believe that things will work out as they should and is genuinely baffled and disappointed when they don't. Yet "Ed" the show doesn't seem creaky because Ed the character has also been endowed with ironic self-awareness, as might be expected on a series created by the men behind "The Late Show With David Letterman." He does wonders for both lawyers and bowling.
  23. [The] brilliantly deranged animated show returns for a second season Sunday on Adult Swim, picking up where it left off: with time stopped.
  24. The 2016 presidential campaign has yet to produce a distinctive comedy voice, but Ms. Bee made a bold early case that it could be hers.
  25. A crackling-sharp spinoff...The show swiftly finds its balance. Not every series lends itself to cloning, but the essential qualities of "Law and Order" seem made for it: headline-generated stories resolved in self-contained episodes; a no-nonsense tone; a cast large enough to vary the focus.
  26. The Missing is imaginatively written, well cast, chillingly believable and quite addictive. This kind of story has been told this way before, but somehow that doesn’t make this telling any less compelling.
  27. Manhattan has a feel both for the rush of scientific discovery and for the often-difficult personalities drawn to it. In this war story, the most fascinating battles are among allies.
  28. The remake has everything that those earlier versions had and something more: Tracey Ullman and Carol Burnett together and at each other's throats.
  29. The Knick has become much more than another tortured-genius antihero story. It has developed a sprawl reminiscent of HBO’s “Deadwood,” stretching to the mansion and the gutter with equal familiarity.... Despite the often dark outlook, there’s also a sense of awe at the analog machinery of life.
  30. Had it arrived 10 or 15 years earlier, when long-form narrative was not the dominant form on cable television, it would have been felt, arguably, more as an explosion than a trickle. The series has at least so far failed to find a large audience, indicating perhaps how much we have come to take good serial drama for granted.

Top Trailers