The New York Times' Scores

For 1,283 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 4.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Office (UK): Season 3
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 594
  2. Negative: 0 out of 594
594 tv reviews
  1. The sitcom doesn't get any better than this. ... Over the last year... 'Murphy Brown' has evolved from a clearly promising idea... into a landmark series.
  2. As cheerfully goofy and bizarrely on target as ever. [19 Jul 1995]
  3. As wickedly, painfully funny as the first two seasons and, in tiny, fleeting doses, as delicately tender.
  4. '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]
  5. This season of “The Wire” will knock the breath out of you.
  6. Even this early 'The Sopranos' has displayed the depth that is its most stunning quality.
  7. When a series starts off great and just keeps getting better, it's television-classic time. And as "The Larry Sanders Show" racks up its fifth 13-week season, that's precisely what is happening on HBO.
  8. Display[s] more wit, emotion, humanity and brutality than ever. Even measured against insanely high expectations, the series is as good as it has ever been.
  9. This is event television given a memorably wicked spin. Nothing like it has ever been seen on network prime time.
  10. [It] may be the most creative and richly imagined [season] yet: it begins by going over old ground and yet something new and totally surprising happens.
  11. One of the best shows on television. ... The show, which prides itself on unvarnished realism, is almost willfully jagged and hard to follow. But it is just as hard to turn off.
  12. For all of its fashionably jittery surfaces, Homicide establishes its own special mark with incisive character portraits. This particular squad of detectives is an inspired collection of types, many sounding like escapees from a play by David Mamet. And why not? Buffs will remember that Mr. Mamet wrote one of the final episodes of "Hill Street Blues." In any event, the protective cynicism and sarcastic repartee of these Baltimore cops are brilliantly on target. A dynamite cast gets it just right.
  13. Television's funniest show. ... On a less carefully written show, the [mockumentary] conceit would almost certainly pall after a few episodes. 'The Office' is instead addictive, less because viewers grow to love David and his batty employees than because the show refuses to let those characters grow too lovable.
  14. Deadwood is indeed small and brackish, and it is in its own way as absorbing and addictive as "The Sopranos."
  15. As pleasurable as its tale is grim.
  16. The Shield does not quite have the depth to make Mackey's actions more than a shock tactic. It doesn't have the moral or artistic complexity of "The Sopranos," the obvious model for a series whose hero does indefensible things. But it echoes reality closely enough to create a chilling resonance and an often gripping show. The Shield is a mix of daring accomplishment, obvious cop-show strategies and orchestrated envelope-pushing, down to its cable-ready reliance on rough language and nudity. But the smooth mix makes the series intriguing, and its energy is relentless even when its freshness lags.
  17. Deadpan lunacy has never worked better for Mr. Shandling and his splendidly merry gang of featured players. [22 Jun 1994]
  18. Carrie is hard to like, but Homeland is almost impossible to resist.
  19. Remains bracingly rude and funny.
  20. Snobs may sneer that the series could more accurately be called "Remains of the Gosford/Upstairs/Brideshead Revisited Park." But there are times when a sincere imitation is not only better than nothing--it's nearly as good.
  21. Oh My God, taped in February, is a crackerjack show, a polished, manifestly professional performance that couldn’t be more different in tone from “Louie.”
  22. It's unlikely that Rescue Me, which continues to cast a serious spell, will turn into a womany show. When "we're Irish" fails to serve as a pretext for bad or capricious behavior on this show, the second-best explanation is still "we're men."
  23. The most visually sensual series perhaps ever seen on television.
  24. Everyone in this layered show has cover stories, divided loyalties, mixed emotions and hidden motives. The complexity of the characters drives the narrative as much as the car chases and ultrasecret missions.
  25. 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]
  26. An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
  27. 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.
  28. Combining dark comedy and psychological drama, the show achieves a fresh tone to match its irresistibly winning concept. [8 Jan 1999, p.E1]
  29. 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.
  30. Lena Dunham's much anticipated comedy about four single women in New York is worth all the fuss, even though it invites comparisons to Carrie Bradshaw and friends, and even though it incites a lot of dreary debate about the demise of feminism.
  31. Tthe best new half-hour of funny television in a season rife with half-hours of funny television.
  32. An extraordinary 10-part series that masters its greatest challenge: it balances the ideal of heroism with the violence and terror of battle, reflecting what is both civilized and savage about war. [7 Sept 2001, p.E1]
  33. At times "Freaks and Geeks" tried too hard to create jolts of recognition. Here the frantic characters regularly call one another idiots, yet Undeclared always seems smart and effortless.
  34. A blistering, demented animated series.
  35. The Killing is as bleak and oppressive as any, but it's so well told that it's almost heartening.
  36. Even the smaller parts are skillfully sculptured. James McDaniel, trailing outstanding stage performances in "Six Degrees of Separation" and "Someone Who'll Watch Over Me," is quietly controlled as the police lieutenant who must cope with Sipowicz's racist outbursts, among other things. And Nicholas Turturro, John's kid brother, is engaging as a young and eager policeman named Martinez.
  37. Here is some of the freshest and most disarming material the comedy scene has been able to claim in a long while.
  38. 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.
  39. A worthy and exhilarating new HBO companion to "Curb Your Enthusiasm."
  40. 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]
  41. On "Seinfeld," this cranky sensibility was filtered through likable actors. Here, nothing stands between the audience and Mr. David's acerbic vision and morose face. There is every reason to despise the man, or at least to feel irritated by his narrowness and self-pity. Instead, for those who aren't immediately put off, Mr. David's comic brilliance becomes even more apparent in this unvarnished form. [13 Oct 2000]
  42. The Wonder Years is at least off to an unusually winning start.
  43. Viewers who never saw it or gave up after the first season now have a chance to get a fresh start. '24' is not as richly woven as 'The Wire' on HBO, but it is still one of the best shows on television. [7 Jan 2005]
  44. 'Roseanne' is off to a terrifically hilarious start.
  45. With a deep and perplexing hero, a wide social reach and uncommon eloquence, it instantly takes a place among the best dramas on television.
  46. It is the seamless weaving of Marshall's personal biography with the story of his tenure as chief counsel for the N.A.A.C.P., where he worked to challenge the separate-but-equal doctrine used to justify racial segregation in the decision of Plessy v. Ferguson, that keeps Thurgood a work of such enthralling theater and television.
  47. A fiercely controlled and inventive work of art.
  48. The original title, "Keep Hope Alive," is funnier, but Raising Hope better suits a very funny sitcom that leavens its satire with sympathy.
  49. 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]
  50. Though the show happens to be about sports, it works even better as a shrewd sendup of the culture of money, hype and celebrity.
  51. This new version of Murder One is not as taut as the original. But it is more focused. And even though it lacks Stanley Tucci and his mesmerizing performance of last season, it has a strong cast and the occasional clever gambit, most notably Ralph Waite, the fine actor still best known as Papa Walton, depicting a subtly menacing power behind the urban scenes. I've seen the first two episodes. I'm hooked.
  52. The second season of “Sleeper Cell” burrows even deeper into the mind-set of Muslim extremists than the first and is all the better and more troubling for it.
  53. The year's most substantial new series. [7 Oct 1991]
  54. "Thief" pays homage to all the conventions of a traditional thriller and weaves into it complicated issues of guilt, race and family. It's a little like some of the better dramas on HBO, but finds its own unorthodox way.
  55. Nip/Tuck is a shrewdly written drama without intellectual pretensions. It is a dark satire that manages to be as engrossing as a soap opera.
  56. It’s so compelling it deserves to be a hit.
  57. Nothing on network television is as smart, original and amusing as Entourage.
  58. 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.
  59. Mr. Colbert's on-camera persona may not wear well over the long term, but for now at least "The Colbert Report" is a worthy spinoff, an icy-cold beer chaser to the shot of whiskey that is "The Daily Show."
  60. The first four episodes, made available for preview, indicate that Law and Order could climb quickly to the top echelons of the genre, right up there with "Crime Story" and "Hill Street Blues." [13 Sept 1990, p.C26]
  61. Luckily for NBC, which bought the rights to the British comedy, only a relatively small number of viewers in the United States have seen the BBC version. Those happy few should try to erase every trace from their brains -- Eternal Sunshine of the Digital Cable Mind -- because the NBC series, though it pales in comparison, is still funnier than any other new network sitcom.
  62. Irresistibly, corrosively funny.
  63. "Family Guy" stands to become the best satire of all-American dysfunction next to "The Simpsons." [29 Jan 1999]

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