The New York Times' Scores

For 1,286 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Murphy Brown: Season 2
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 596
  2. Negative: 0 out of 596
596 tv reviews
  1. Its a clever and engaging reinterpretation by Bill Gallagher, who shaped the script to contemporary tastes and sensibilities--notably, a postmodern fatigue with ideology and big thoughts.
  2. Like so many contemporary television thrillers, FlashForward works just as powerfully as a domestic drama as it does as a mechanism of apocalyptic intrigue.
  3. There’s an engrossing moodiness to Mr. Williamson’s latest venture, but one he conveys without annulling the pact he long ago made with himself never to let his cheekiness go undetected.
  4. Alicia’s shock and her sense of surreal detachment, is as vivid a depiction of personal crisis as any on television. But after this cleverly written series deconstructs the exact moment when everything falls apart, it imaginatively explores how one scorned spouse struggles to get past a life-shattering scandal.
  5. What could have easily become a pandering hybrid is in fact intelligent, emotionally resonant television.
  6. This is an elliptically told tale, and it takes a few episodes for the plot and the characters to pick up steam.
  7. Covert Affairs is fun and clever and Ms. Perabo has panache in the role.
  8. While it is quite silly, it's silly in a clever and engaging way, which is the signature style of its creator, Matt Nix.
  9. Huge imparts lessons while avoiding the tenor of an instructional, and in many ways it feels like a hybrid of two distinct eras of adolescent television, one marked by a heartfelt languor and the other by a media-fluent sarcasm.
  10. Alice Morgan (Ruth Wilson), whose braininess extends to an expertise in physics and an acute ability to help Luther unravel the most advanced criminal minds. The two circle each other dangerously, their chemistry both bizarre and addicting.
  11. The appeal is elementary: good, unpretentious fun, something that's in short supply around here.
  12. In its astonishingly raunchy way, The League is pretty funny whether or not you’re a fantasy geek, assuming you’re a TV-MA kind of person.
  13. The latest incarnation, Nikita, which begins on the CW network on Thursday, is a surprisingly sophisticated and satisfying adaptation.
  14. By using a celebrity as a Trojan horse, Teach offers an engaging and intimate look at just how complicated and difficult teaching can be at a large, urban public high school.
  15. The mockumentary conceit has been done to death, especially in sitcoms inspired by "Arrested Development" and "The Office." But it's effective in this drama, lending the characters' monologues both poignancy and also a light layer of satire.
  16. Terriers hangs rich people out to dry, makes fun of yuppie affectation and seeks as much to position itself on the right side of the class war as it does to amuse us. It succeeds amiably on both fronts.
  17. Lone Star offers an amusing and novel television conceit, but in an age of Enron and Bernard Madoff, it takes a very persuasive actor to keep viewers rooting for a swindler. Mr. Wolk is well cast.
  18. Detroit 1-8-7 is a lovingly updated tribute to shows that were on the air so long ago that almost none of the detectives were black.
  19. The television adaptation is surprisingly scary and remarkably good, a show that visually echoes the stylized comic-book aesthetic of the original and combines elegant suspense with gratifyingly crude and gruesome slasher-film gore.
  20. The fact that it's neither embarrassing nor deeply offensive--once it gets rolling, the show is actually quite charming--is a credit to the cast and the writers.
  21. Questions of innocence are established fairly early in the far more appealing of the legal dramas beginning on Wednesday: The Defenders on CBS. Here the love connection is unambiguously platonic and winning.
  22. The Big C works because most of the writing is strong and believable, and so is Ms. Linney, who rarely sounds a false note and here has perfect pitch.
  23. Now it's a compliment to say that Season 3 does: Paul's relationships with his new patients are as finely etched as before. The writing may seem a little less sophisticated--each session offers incremental insights about the patient that can seem a bit pat or forced--but over all In Treatment is still an absorbing dramatization of psychotherapy.
  24. This quietly addictive program isn't really about what goes on inside the Big Apple's single ring. It's about the people, both under the lights and behind them, who make those performances possible.
  25. It's impossible not to root for the Bruce family. But it's just as hard not to dread the series's success.
  26. Wartorn sometimes starts to feel prim and preachy. But it also has its share of quietly devastating, haunting scenes, echoes of the nightmares that veterans are bringing home with them from Iraq and Afghanistan.
  27. The Cape is far more economical in its storytelling, far less weighted by its own mythologies and a much better time. Someone in network land as learned a lesson [from "Heroes"].
  28. Public Speaking perfectly captures the pleasure she takes in observing the world while subtly revealing the crippling dimensions of perfectionism, the outsize ego it requires to achieve a certain kind of creative failure.
  29. Storage Wars is an especially entertaining addition to the genre. Who doesn't love the sound of an auctioneer's voice? Beyond that, the four buyers on whom the show focuses are well chosen, and the "reveals"--the moments when the buyers see what they've acquired and get estimates of its value--are great fun.
  30. Shameless is deftly adapted and surprisingly appealing, crude, funny and also touching.

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