The New York Times' Scores

For 1,429 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 Gideon's Crossing: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 670
  2. Negative: 0 out of 670
670 tv reviews
  1. It's impossible not to root for the Bruce family. But it's just as hard not to dread the series's success.
  2. In the first two episodes, Scrubs quickly achieves a breezy comic rhythm. Like ''Spin City'' this show operates with deliberate artifice but enough warmth to bring humanity to the characters.
  3. Life on Mars is a smarter, gloomier "Journeyman."
    • 79 Metascore
    • 80 Critic Score
    Mr. Brown has bought into something real: our childlike joy in being fooled.
  4. Season 2 is, from the start, an entirely messier, more contingent affair, enjoyable in a different and, to me, more appealing way.
  5. Quibbles aside, Game of Thrones is still remarkable for both the scrupulousness and the lavishness of its production, beautiful to look at and mostly engaging to follow, though there is something of the accountant’s method in Mr. Martin’s fantasy--progress through constant addition--that transfers into the television show.
  6. There is a genuine suspense and thrill to the show now, but it succeeds largely as a treatise not on the tragedy of cancer but on the sheer monotony of it, the relentless waiting around.
  7. Each slight, breezy half-hour is fresh and funny.
  8. All three characters are highly appealing, but the charm of the show lies in the delicate balance of engrossing drama and disarming humor; the series is not campy or self-conscious, it’s witty in an offhand, understated way.
  9. These four women are amusing, at times poignant, but not easily likable. The show is caustic and hard to watch, but harder to turn off. In Season 3, their solipsism and callousness are even more pointed, all the more shocking, and still quite funny.
  10. Las Vegas is as flattering to companies like the MGM Mirage Inc. as "The Love Boat" once was to Princess Cruises. Yet the show still manages to be slick, fast-paced and engaging, a remake of the remake of "Ocean's Eleven," in which all the good-looking people work for the casino, not against it.
  11. 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.
  12. New Girl is charming and quite funny, but especially when compared with the other two shows, it seems quite old-school.
  13. It’s sophisticated, well-acted television for a warm-weather series.
  14. Manh(a)ttan provides a cleverly imagined portrait of the men and women who were at the epicenter of that peculiar sovereignty.
  15. [Broadbent] is unrecognizable and remarkable in the role of Longford, capturing both the man’s dotty hauteur and his awkward, absent-minded chivalry.
  16. Jane the Virgin isn’t exactly sui generis: it has traces of past series that blended whimsy and wile, including “Ugly Betty” and “Pushing Daisies,” but this show has a delightful heroine and its own sweetly wicked inflection.
  17. It’s an exceedingly watchable history lesson.
  18. This spy drama is not as dense and psychologically intricate, but it has compensations, most notably the placement of fictional characters like McAuliffe and Torriti alongside real-life figures like Angleton and Philby, and inside real-life crises like the 1956 Hungarian uprising.
  19. The appeal is elementary: good, unpretentious fun, something that's in short supply around here.
  20. The hero of Awake has a psychiatric problem; there are no aliens or ghosts to explain away the more improbable turns, and this adventure is far more compelling.
    • 87 Metascore
    • 80 Critic Score
    The closest American popular television has ever come to this kind of close-up realism is probably the drug-dealing scenes in "The Wire" on HBO, and even they seem a little tame and stagey compared with what takes place in Dona Marta.
  21. It is an odd and intriguing look at crime scenes, forensic labs and interrogation rooms as a backdrop to the family crises and growing pains of an unhappy teenage girl.
  22. The pacing is occasionally so slow and deliberate that it may test some viewers’ patience, but the series takes its time because the real mystery is Wallander and his uneasy inner life.
  23. The show is bold, quite good and gets better as it goes on. But Huff is never truly great the way ''The Sopranos'' or ''Curb Your Enthusiasm'' have been on HBO. Like other Showtime fare, ''Dead Like Me'' and ''The L Word,'' the series is enjoyable without being vital.
  24. There is little resistance to cliche in all this, but the cliche is so visually appealing that you'll feel like a spoiled child if you complain. And you're given such a treat that you'll also feel like one, begging for more.
  25. What Broadchurch has to offer, beyond its central performances and its intelligent but not particularly original plot, is mood: a tasty icing of gloom and foreboding that leans heavily on the music of Olafur Arnalds and the cinematography of Matt Gray, whose shots from every possible angle of the dramatic cliffs behind the Broadchurch beach are essential to the show’s ambience.
  26. Offbeat and utterly charming.
  27. Britain in the 1980s is arguably a lot more interesting than Britain in the ’70s, and Ashes to Ashes sharply engages the factionalism of the day: the mounting antipathies of the working class, the growth of privatization and development, the fury over nuclear armament.
  28. The final season of The Wire is committed to proving him wrong; by leaving nothing out it offers viewers as close a chance as anyone can get to everything.

Top Trailers