The New York Times' Scores

For 1,933 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Undeclared: Season 1
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 923
  2. Negative: 0 out of 923
923 tv reviews
  1. Lady Dynamite has its own bizarre-sincere voice and its own dream logic. It’s something else, in a good way: a journey to the center of Ms. Bamford’s mind that dives through fantasy after loopy fantasy and emerges with something real.
  2. A blistering, demented animated series.
  3. It’s arch, playful and pop literate. ... The rapid-fire jokes don’t all land, the supporting characters can be cartoonish and the satire didactic. The show’s strength is its confident, consistent voice.
  4. The Missing is imaginatively written, well cast, chillingly believable and quite addictive. This kind of story has been told this way before, but somehow that doesn’t make this telling any less compelling.
  5. Because the gently quirky celebrity documentary is an enjoyable if standardized format, the potency of Bright Lights sneaks up on you.
  6. Season 2 is in many ways as captivating and addictive as the first, but this time around, the series comes off as a shameless throwback to itself.
  7. The movie, adapted by Mr. Kramer and directed by Ryan Murphy, simultaneously exposes some of the play’s flaws and finds alternate sources of power in the story.
  8. There aren’t many series at the moment quite like it or as good. It is as subtle and intrusive as “In Treatment” was on HBO, with some of the suspense and narrative feints that made “True Detective,” also on HBO, so addictive.
  9. The cinematography is striking, as always; the sets and costumes remain as telling as the dialogue--this is when Peter Max was on the cover of Life magazine. But many of the characters are repeating themselves or pedaling in place, and the historic underlay that was once so piquant is now dreary.
  10. The plot of "House of Cards" requires more than just a couple suspensions of disbelief. Seemingly perceptive characters turn inexplicably naive. The obvious is overlooked just a bit too frequently. But, directed by Paul Seed, the production moves ahead briskly, and as the story turns more and more vicious, the timely potboiler becomes surprisingly compelling. Much of the credit belongs to Ian Richardson's scarily perfect performance as Francis Urquhart.
  11. In many ways the second season is richer. The stories are again lifted from “Be’ Tipul,” but set in New York, the epicenter of post-Freudian civilization and its discontents.
  12. In Season 2 it’s the quality of the family-sitcom interplay that continues to make Survivor’s Remorse, created by the actor and writer Mike O’Malley and inspired in part by the life of LeBron James, one of the funnier and more appealing mainstream half-hours on television--mainstream meaning formulaic but with a light enough touch that you can choose to ignore it.
  13. This is an ABC drama that is not just good, it’s startlingly good, as bracing in its own way as "True Detective" was on HBO last year.
  14. Mr. Tennant and Ms. Colman--with a strong assist from the soap opera actress Julie Hesmondhalgh as the victim--are entertaining and moving right to the end.
  15. Through the four episodes screened for critics, the season bursts with power and purpose but misses a spark of life. It plays like an earnestly acted position paper.
  16. The 2016 presidential campaign has yet to produce a distinctive comedy voice, but Ms. Bee made a bold early case that it could be hers.
  17. Some comics are natural actors, but Ms. Butcher and Ms. Esposito aren’t, which makes for awkward moments, especially when the show tries to hit a somber or intimate note. But the clunkiness also gives Take My Wife a weird sort of honesty.
  18. The Killing is as bleak and oppressive as any, but it's so well told that it's almost heartening.
  19. "EZ Streets" may sound depressing, but its fiercely dark vision keeps viewers off-kilter and engaged and makes this one of the season's most exciting new series. [26 Oct 1996]
    • The New York Times
  20. The series is acted with razorlike timing. [21 Sept 1998, p.E5]
    • The New York Times
  21. It’s a vehicle for two graying actors that gives both a chance for tour-de-force performances, and in the new television version Monday on Starz, a couple of esteemed veterans, Anthony Hopkins and Ian McKellen, get about as much out of the tale as there is to get.
  22. 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.
  23. Even in the age of the high-quality limited series, it’s rare to come this close to the feeling of reading a book--immersive, compulsive and unpredictable, but also exhausting and sometimes mundane and repetitive. For the most part, the series’s novelistic qualities carry the day.
  24. Its stories of buppie frustration and romance, set in Los Angeles, aren’t revolutionary, but they’re funny and moving, powered by Ms. Rae’s ear for dialogue of a kind of crystalline, pitch-perfect profanity.
  25. The series is a clever update, not to say rip-off, of “The Mary Tyler Moore Show,” set behind the scenes at an NBC comedy show rather than in a television newsroom, and it is very funny.
  26. 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.
  27. [The] zone of ambiguity is what sets Key & Peele apart--it leaves us to read the cultural cues ourselves, and isn’t that concerned if we can’t keep up.
  28. What is implied elsewhere is confronted aggressively in the terrifically restive FX drama Rescue Me.
  29. [Dr. Oz's presence is not] fatal to the enjoyment provided by the eight hours of NY Med, and we can also forgive the familiar situations and stock characters.
  30. The second season of Happy Valley is less intense but more polished than the first, and still a superior example of the crime drama that focuses more on the people than on the crime.

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