The New York Times' Scores

For 1,410 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 5.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Undeclared: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 661
  2. Negative: 0 out of 661
661 tv reviews
  1. One of television’s rare examples of successful farce.
  2. The movie has such cult status that it seems almost sacrilege to tamper with it for television, but as a series 10 Things is not terrible; it is even at times fun. It’s just not very inventive.
  3. It may turn into one of those crime shows that are competent enough but, well, forgettable, despite Ms. Montgomery's charms.
  4. It still has plenty of clever touches in word and picture.... But it’s not particularly scary, and doesn’t even feel that creepy or freakish, despite the sideshow setting and the obvious attempt to emulate one of the eeriest of American movies, Tod Browning’s “Freaks,” from 1932.
  5. It's well made and enjoyable enough, but it follows convention so closely that it doesn't give Ms. Delany, an actress with range and great presence, a chance to riff on the genre.
  6. The class divide is ugly and pronounced, much more so than on “Nurse Jackie,” where Jackie’s best friend is a surgeon happiest in the proximity of $600 pumps. Quickly, Sonia’s aspirations are shown to be untenable.
  7. Mr. Gregg hits the same appealing note of wry authority that he struck in “The Avengers” (it’s not yet clear whether he has any others), and the newcomer Brett Dalton shows some charm as a Bond-style operative. Joss Whedon, meanwhile, has fun with the show’s obligatory jabs of self-awareness.... The first week’s adventure feels perfunctory, though, even given the constraint of introducing characters and back story, and most of the team members are still strictly two-dimensional.
  8. Most of the screen time goes to Ms. Madsen, and she works hard to pump some life into the script's mild zingers.
  9. The second season has style and suspense, but it’s harder to keep viewers guessing when the characters are so familiar, and the time-scrambling format is no longer as novel.
  10. Though it displays far less aggression, “Creature Comforts” exists as a sort of affectionate “Borat,” making fun of unsophisticated Americans, as it leaves you feeling not quite as complicit in the exploitation.
  11. Erratic but promising ... So far the series lacks the sharp writing to match its actors' unflappable delivery and deft physical comedy. [9 Jan 1996]
    • The New York Times
  12. The opening installment is sharp over all but has squishy spots; that makes you wonder if the premise and the execution are up to the challenge of a series run.
  13. Bates Motel has a talented cast and a memorable back story that guides, but doesn’t limit, the narrative, and at its best it’s intriguing and enjoyably grim. But even more than Norman, the series itself has a split personality, a Hitchcock classic grafted onto a much more mundane brand of suspense. Each new twist moves it further from “Psycho” and closer to Nancy Drew.
  14. After the first few episodes it remains unclear who, or what, is behind the mayhem, so points, as cringe making as it is to acknowledge, for suspense. The show has missing cash, stolen cash, a freaky black sheep and a menacing brother-in-law.
  15. It’s a crisply paced suburban potboiler with a murdered child at the center, and if you’ve been sucked in by other shows in this genre you may find yourself sucked in by this one. But also feel free to be vaguely annoyed that those clever TV makers are seducing you with formulas rather than freshness.
  16. This may be a case where a little more violence would help make the stakes seem more real. The main issues for these royals and would-be royals are when to bow and to whom.
  17. Kirstie, with Ms. Alley mugging through her role as a kindhearted narcissist, is more like the Ford Focus. If it’s late and it’s all the rental company has left, you might as well take it.... Rhea Perlman is funny as Thelma, but the real revelation of Kirstie is Michael Richards as the shady chauffeur, Frank.
  18. The movie’s premise--a secretary who feigns pregnancy to avoid being fired--isn’t terrible and neither is Ms. Lohan. Mostly because of how her part was written, it takes too long for Ms. Lohan to shed her Hollywood reputation and wan, stilted demeanor and get into the role.
  19. It's the right cast in the right setting but with a wrongfully righteous script.
  20. When this complex question about memory, identity, reality and generations of women supplies the suspense of the film, “Life Support” really gets good.
  21. Wyatt's story falls together a little too neatly.
  22. Big Driver is slimmer in content, as well as form, than “Misery,” but it is nonetheless gripping. The television adaptation, however, doesn’t adjust for the power of a graphic depiction of assault, rape and sodomy. And that violence, when juxtaposed with the jaunty, Cabot Cove tone, undercuts the movie’s message of payback and empowerment.
  23. Some of these segments are quite amusing, but they're rarely more amusing than they would have been if published in The Onion (the newspaper or the Web site).
  24. The Gates is a satire--a cheaply enjoyable one--of suburban lust and maternal anxiety, psycho-social forces that delivered previous generations of women to the pages of Betty Friedan (or Redbook) but that today send a certain kind of young matron to the perverse romance of vampire media.
  25. The directionless but well-shot archival footage dates to 2011, when Kesha led her first headlining tour, and was filmed by her brother Lagan, among others, which explains the access, the duration of filming and the intimacy.
  26. As in "Seinfeld" and the routines of countless stand-up comedians, nothing much happens in "Mad About You." ... At the very least, Mr. Reiser and Ms. Hunt get the chemistry just right.[23 Sep 1992]
    • The New York Times
  27. The story ends with a final, not quite believable, flourish on John's part, but Mr. Mackintosh carries it off, riding comfortably above his middling material.
  28. The actors are appealing and well cast, but their characters are quite basic, borrowed shamelessly from Brat Pack movies of the mid-80's.
  29. The premiere episode is almost willfully strange and unlikable. But that doesn’t mean that the series is bad, just peculiar, a solemn mythologization — and mystification — of surfing as unearthly pleasure and life-sapping addiction.
  30. Despite these quibbles, Children of Earth is still good fun, if not good, exactly.

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