The New York Times' Scores

For 1,261 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Sopranos: Season 6
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 579
  2. Negative: 0 out of 579
579 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. It's by no means assured that American viewers will commit themselves to what is, in effect, a very long mini-series with no tidy wrap-ups each week. But Murder One sets the stage skillfully for what promises to be the television equivalent of an absorbing excursion into a good Mary Higgins Clark mystery. I wouldn't dream of missing, at the very least, the next few episodes.
  4. As wickedly, painfully funny as the first two seasons and, in tiny, fleeting doses, as delicately tender.
  5. '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]
  6. This season of “The Wire” will knock the breath out of you.
  7. Even this early 'The Sopranos' has displayed the depth that is its most stunning quality.
  8. 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.
  9. 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.
  10. This is event television given a memorably wicked spin. Nothing like it has ever been seen on network prime time.
  11. [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.
  12. 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.
  13. 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.
  14. This narrative pokiness is redeemed, as usual, by the machine-tooled professionalism of the production, the lavish attention to the mock-medieval costumes and setting, and the mostly crisp, understated acting by the international cast.... More than ever, though, you may find yourself impatient for the plot to wind around to the more engaging story lines.
  15. 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.
  16. Louie is a comedy that seeks to provide something besides laughter. Louis C.K. will try anything, and not everything works. But it’s the willingness to defy expectations and experiment that makes Louie special.
  17. Deadwood is indeed small and brackish, and it is in its own way as absorbing and addictive as "The Sopranos."
  18. As pleasurable as its tale is grim.
  19. 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.
  20. Deadpan lunacy has never worked better for Mr. Shandling and his splendidly merry gang of featured players. [22 Jun 1994]
  21. If you fall into its languorous rhythms, you’ll be rewarded by a story that builds tension with clockwork precision and expertly maintains a mood of clammy dread.
  22. Carrie is hard to like, but Homeland is almost impossible to resist.
  23. 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.
    • 91 Metascore
    • 70 Critic Score
    If the writers and producers are able to trust a little more in their characters and resist the broad gags, this may develop into a grown-up show. [14 Aug 1992]
  24. Remains bracingly rude and funny.
  25. 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.
  26. Sometimes this focus on technology feels a bit heavy-handed, but in general this is a series that seems to be growing more assured as it goes along.
  27. There's a shrewd madness in this straight-faced satire. [2 Jun 1993]
  28. 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.”
  29. These images will stick with you. But so will an overall sense that Frozen Planet is more--a lot more--of the same: an aestheticized, sentimentalized, anthropomorphic abstraction of the natural world, in which gentle soundtrack music, winsome narration (by Alec Baldwin, replacing Mr. Attenborough for most of the American version) and the judicious use of slow motion combine to put us in a pleasant stupor on the couch.

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