The New York Times' Scores

For 1,831 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 4.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Americans: Season 5
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 871
  2. Negative: 0 out of 871
871 tv reviews
  1. Though the setting has shifted from New York to Los Angeles, the look and feel of the show are essentially unchanged, with Heidi Klum and her Valkyrie manner still doing the hosting and Tim Gunn continuing to bring an Oxford don’s comportment to his sartorial mentoring.
  2. 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]
    • The New York Times
  3. It feels as if the attention that should have gone to the storytelling all went to the atmosphere and the repartee.
  4. Generation Kill, which has a superb cast and script, provides a searingly intense, clear-eyed look at the first stage of the war, and it is often gripping. But like a beautiful woman who swathes herself in concealing clothes and distracting hats, the series fights its own intrinsic allure.
  5. There is, admittedly, a fine line between being hilariously perceptive and just plain, even objectionably, silly. While habitually teetering on that line, 'The Simpsons' has shown a remarkable ability to come down on the right side most of the time.
  6. Deadwood is not easy to watch. There is no musical score; the settings are relentlessly dull and depressing; and it is shot almost entirely in shades of sepia and gray. The series takes its own time establishing the characters, and the dialogue is muffled and indistinct. But once the story takes hold, it is hard to turn away. Like laudanum, a good western can be habit-forming.
  7. Manhattan has a feel both for the rush of scientific discovery and for the often-difficult personalities drawn to it. In this war story, the most fascinating battles are among allies.
  8. 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.
  9. But for [Diane] and for this improbable but promising spinoff--it ends up being an invigorating new start.
  10. Five Days, made by the BBC and HBO, is riveting because it weaves the most familiar milestones of a major homicide investigation--the news conferences, police interrogations and family meltdowns--into a less predictable and intricately layered narrative that averts clichés without diluting the suspense.
  11. The engineering of the plot is pretty obvious, and the sentimentality that’s part of the Harmon package goes overboard toward the end of the episode.... Everything is back on track, though, in Thursday night’s second episode, a sterling example of Mr. Harmon’s ability to deploy fanboy obsessiveness in the service of funny and affectionate storytelling.
  12. This quietly addictive program isn't really about what goes on inside the Big Apple's single ring. It's about the people, both under the lights and behind them, who make those performances possible.
  13. As with most programs in the illustrated-lecture format (the lecturer in this case being the narrator, Christopher Plummer), the early material is the best. TCM, bless its soul, spends three of the seven hours just getting from Thomas Edison, Georges Melies and the Lumiere brothers through the silent era, and those first three episodes are a treat.
  14. The ending mars what is otherwise a handsome and well-written effort, with good supporting performances.
  15. Though these people may not resemble any job seekers you know, the portraits feel about as honest as reality TV gets.
  16. The Wonder Years is at least off to an unusually winning start.
  17. We have perhaps grown to expect a certain rhythm in these accounts. A mission accomplished amid much bravery and loss. Memories of horror and heroism carried silently for decades. The Ghost Army reminds us that in a conflict as sweeping as the Second World War, not every story fits that template.
  18. If you are not averse to the Dungeons & Dragons aesthetic, the series might be worth the effort. If you are nearly anyone else, you will hunger for HBO to get back to the business of languages for which we already have a dictionary.
  19. The show can get overly cute. It's hard to believe that anyone these days, even in remote Alaska, hasn't heard of a bagel, frozen or otherwise. And at one point, a passing reference is made to "St. Elsewhere." Not necessary. But, like Joel, a good many viewers may discover that the characters kind of grow on you. A first-rate cast makes it all the more easy. As Ed says to Joel about the gamey mooseburgers, you'll get used to it. [12 July 1990, p.C22]
  20. The Challenger investigation story doesn’t have quite the level of malfeasance or the cloak-and-dagger undertones of other movies about real-life government or business debacles. But it still makes for an absorbing tale, one that seems well timed for our current moment of bungled websites, unrestrained eavesdropping and public skepticism.
  21. Capaldi's Doctor is not just older but looks to be drier in his humor, more reticent, more coldblooded and dangerous. From a critic’s point of view, that’s interesting and potentially an improvement.... In other ways, the season premiere is a bit of a space holder, a middling story that’s concerned mainly with introducing Mr. Capaldi and establishing the relationship between the new Doctor and his sidekick, Clara.
  22. The 50 Year Argument, which Mr. Scorsese directed with David Tedeschi, is textured and smart but thoroughly celebratory, a paean to the magazine and the amazingly durable Mr. Silvers, now 84.
  23. Season 2 begins on Sunday, and the off-kilter charm is still there, though some strain is beginning to show.
  24. House of Cards is “Scandal” for naysayers and misanthropes, and that’s actually quite cheering.
  25. The Carmichael Show consistently feels surprising, not formulaic, partly because of the talent assembled, partly because of Mr. Carmichael’s comic philosophy of prodding his audience.
  26. The low-key, observational style of the humor in Better Things may leave you restless, and there are moments when the show veers into cuteness or sentimentality. But the show’s real payoffs have less to do with laughs than with aching recognition of the single mother’s plight.
  27. That ensemble may be enough reason to spend 12 hours or so at the fictional Litchfield prison, even if the drama occasionally lags. It’s a surprisingly congenial place.
  28. A reasonably entertaining though not exceptional science-fiction adventure series with a wild conspiracy plot whose hook is cloning.
  29. "Desperate Housewives" is entertaining, but it turns the clock back to pre-Betty Friedan America, lampooning four bored, frustrated, white upper-middle-class ladies who lunch.
  30. That JJ has cerebral palsy, which keeps him from speaking, as well as limits his obscene gestures, is what makes ABC’s Speechless distinctive. That he’s a flawed kid with a flawed family in a reasonably funny sitcom is what makes Speechless good, rather than simply worthy. ... But by the end of its first episode, Speechless establishes one important indicator of a new sitcom’s potential. It has a voice.

Top Trailers