The New York Times' Scores

For 1,176 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 5.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Band of Brothers: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 546
  2. Negative: 0 out of 546
546 tv reviews
  1. For the most part, the flexibility that television provides is used to good advantage in The Hollow Crown to clarify the action and enhance the dynamics. Only occasionally does it feel misplaced, as in “Richard II,” when [director Rupert] Goold goes all in with Jesus imagery.
  2. 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."
  3. [Peter Dinklage, Ciaran Hinds, Paul Kaye, and Dianna Rigg are] all fun to watch, even when their characters don’t have anything in particular to do besides relay information that we need to keep up with the story or keep straight the seven (so we’re told) warring families.
  4. "24" still provides an irresistible blend of iPodish computer wizardry and "Perils of Pauline" cliffhanger suspense.
  5. The Bluth heirs are eccentric and warped, but they are not hothouse child prodigies like the Tenenbaum siblings. They are nouveau riche misfits, the Ewings of "Dallas" as seen by Bunuel. And they are quite amusing.
  6. 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.
  7. The series gets better and more engrossing with time, but it takes more than a few episodes for it to clear its throat, establish its bona fides and fall into storytelling stride.
  8. "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.
  9. The new season of this dense medieval fantasy set in a land called Westeros serves up a whole bunch of wartime posturing, a seemingly endless number of would-be rulers and the usual sex and (sometimes in the same scene) violence. But it sure doesn't give viewers much to latch onto.
  10. The most visually sensual series perhaps ever seen on television.
  11. It can be shamelessly sentimental and, at least in this sensitively crafted introduction written and directed by Mr. Goldberg, thoroughly captivating. [20 Sep 1991]
  12. [Broadbent] is unrecognizable and remarkable in the role of Longford, capturing both the man’s dotty hauteur and his awkward, absent-minded chivalry.
  13. At this point, the context may be more interesting than the characters.
  14. 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.
  15. One weakness in the show is that each character has a showoff story line that splinters the narrative rather than unites it. And sometimes the hyper-arch tone gets a little tiresome. But only sometimes. Mostly, a talented cast and funny, imaginative writing make each episode a pleasure. Arrested Development is watched by critics, but it deserves a bigger, perhaps better audience.
    • 88 Metascore
    • 70 Critic Score
    Except for Mr. Sutherland, who has a strong and appealing presence, most of the actors seem generic. [6 Nov 2001]
    • 88 Metascore
    • 70 Critic Score
    Though it has a winning, low-keyed charm, Freaks and Geeks can't escape its sense of borrowed wonder. But at least it has some. [24 Sept 1999, p.E1]
  16. 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]
  17. An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
  18. 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.
  19. An inventive, likable comedy. [7 Jan 2000]
  20. Combining dark comedy and psychological drama, the show achieves a fresh tone to match its irresistibly winning concept. [8 Jan 1999, p.E1]
  21. This is an elliptically told tale, and it takes a few episodes for the plot and the characters to pick up steam.
  22. Those first fugues into Don's hidden past are not the most inviting way into a new season, however. Mad Men is essentially one long flashback, an artfully imagined historic re-enactment of an era when America was a soaring superpower feeling its first shivers of mortality.
    • 87 Metascore
    • 90 Critic Score
    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.
  23. With her clear-eyed gaze and Pre-Raphaelite hair, Felicity (Keri Russell) is immensely likable yet down to earth as she struggles to stand up for herself. Ms. Russell's sincerity and naturalness take the curse off the series' calculated, prepackaged feel.
    • 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.
  24. Like the movie, the series is peculiar, with an irregular rhythm and lots of black humor, and it is also oddly winning.
  25. 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.
  26. What could have easily become a pandering hybrid is in fact intelligent, emotionally resonant television.