The New York Times' Scores

For 1,817 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 4.5 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 861
  2. Negative: 0 out of 861
861 tv reviews
  1. The remake has everything that those earlier versions had and something more: Tracey Ullman and Carol Burnett together and at each other's throats.
  2. 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.
  3. It doesn’t try to be the movie or outdo it in terms of fright factor, nor does it provide any reasons for mockery. It’s well-made, well-acted television, which is more than can be said for some of the reboots rolling out this fall.
  4. 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.
  5. While it is quite silly, it's silly in a clever and engaging way, which is the signature style of its creator, Matt Nix.
  6. The casting is delicious, the characters and their stories grow more complex with each episode, and Graham and Roxanna find that you can’t serve the rich without becoming caught in the quicksand of greed. And you know how quicksand works. The harder you struggle against it, the farther it sucks you in.
  7. "Everybody Hates Chris" is the first show in a long time centered on a teenager whose main problem is not adolescent angst, but real life. And Mr. Rock makes it funny, not maudlin or mean.
  8. The documentary is a loving tribute to his personal charm and other talents.
  9. Rosemary’s Baby bends to current fashions, and, accordingly, is more straightforward and much gorier than the original film. But partly because the story has been so altered, it still has mystery and suspense.
  10. Five Days, made by the BBC and HBO, is riveting because it weaves the most familiar milestones of a major homicide investigation--the news conferences, police interrogations and family meltdowns--into a less predictable and intricately layered narrative that averts clichés without diluting the suspense.
  11. Better Call Saul is better than good: It’s delightful--in a brutal, darkly comic way, of course.
  12. The advice here is to forget the politics and enjoy the performances and the trip back in time.
  13. Cheerfully cynical yet with a sincere appetite for the game, The Circus is both a document and an example of the superficiality of today’s elections. It may not be a three-dimensional picture, but it’s a vivid one.
  14. Previewing the songs may be enough to draw Foo Fighters fans. For everyone else, Mr. Grohl provides, through interviews, archival clips and his own narration, a musical and social history of the city that’s both surprisingly detailed and decidedly personal.
  15. With some delicious comic touches, Quantum Leap is slyly offering two cheers for the "sensitized" man of the 1980's. Sam even managed to phone his beloved father, who had died in 1974. The experience left him with tears streaming down his face. Mr. Bakula (''Eisenhower & Lutz,'' Broadway's ''Romance Romance'') pulls all of this off with skillful charm. He could easily get away with devouring an entire quiche. [30 Mar 1989, p.C24]
    • The New York Times
  16. This inventive sitcom is hilarious.
  17. Michael Ian Black is the wonderfully deadpan moderator, overseeing a debate between two two-person teams that uses the familiar structure: arguments, responses, closing arguments and so on. ... What makes it all work, though, is that these debaters aren’t merely improvising, which would have resulted in lazy comedy, at best. They have put in serious preparation time.
  18. It’s been brought into the present (Clarke’s jumping-off point was the Cold War space race), but the depth and ambition are still there.
  19. Mr. Fellowes emphasizes Trollope’s humor without shortchanging the melodrama, and the production has the feeling of a high-def tribute to an earlier era of British film and television (emphasized by the use of old-fashioned fonts for the credits)--it achieves a kind of rollicking serenity.
    • 72 Metascore
    • 80 Critic Score
    The supporting cast is very strong--Tony Hale (perhaps best known for "Arrested Development"), in particular, excels as Selina's goofy and limpetlike personal aide--the various internecine plotlines are building well; and no one is allowed to riff uncontrolled.
  20. Its stories of buppie frustration and romance, set in Los Angeles, aren’t revolutionary, but they’re funny and moving, powered by Ms. Rae’s ear for dialogue of a kind of crystalline, pitch-perfect profanity.
  21. Basically it’s a knock-off of TLC’s "What Not to Wear." But the Bravo version is watchable, mostly thanks to its host.
  22. Once the show gets going, and it takes more than one episode to do so, The Leftovers bores into the characters and the fissures that crack their community so astutely that the cause is almost secondary.
  23. This show is smart and rigorous, with a concentration that bores deep without growing dull.
  24. The Carmichael Show consistently feels surprising, not formulaic, partly because of the talent assembled, partly because of Mr. Carmichael’s comic philosophy of prodding his audience.
  25. It takes a lot to make an I.R.S. agent the good guy in a series -- a lot of nerve, imagination and clever writing, a combination that sets the inspired Push, Nevada apart from every other new show of the season.
  26. It’s a dizzying reprise, and also a dazzling one.
  27. They practice the comedy of female semi-empowerment, in which confidence (tending toward narcissism) and a still somewhat startling sexual frankness combine with old-fashioned insecurity and self-abasement, all of them generating laughs.
  28. The script, by Amanda Coe, has a dexterous sense of fun.
  29. The smooth telling of Russo's story juxtaposed against the present day, when gay marriage is sanctioned in some states and gay characters are all over prime-time television, drives home how different the cultural landscape is from the one Russo knew.

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