The New Yorker's Scores

For 121 reviews, this publication has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Positive: 72 out of 72
  2. Mixed: 0 out of 72
  3. Negative: 0 out of 72
72 tv reviews
  1. The result is a warmer story, streaked with satire rather than marinated in it. Perhaps the greatest contribution comes from the performance of someone who barely appears: Rory Kinnear (best known as the Prime Minister in the pig episode of “Black Mirror”), whose Barry is a poignant, meaningful figure, a do-gooder whose loss is real for the town’s most vulnerable residents.
  2. The meanest sitcom in years—and one of the funniest.
  3. Younger has a disarming blend of brass and humility. The second season, judging from the first three episodes, is a real step up.
  4. The Comeback is as spiny and audacious as the original, but very different, because it isn’t aimed at “celebreality” or network sitcoms, now dated targets.
  5. The show is at its best in such moments, these sequences that capture the semi-virtual, semi-real ways that we think, and feel, and meet, and connect today. It’s a rare attempt to make visible something that we take for granted: a new kind of cognition, inflected by passion, that allows strangers to think out loud, solving mysteries together.
  6. Smart, salty, and outrageous, the series falls squarely in the tradition of graphic adult cable drama.
  7. In a lacklustre fall season, this sweet surprise of a pilot, with its shrewd narration and likable cast, made me cross my fingers that the show can maintain its charms.
  8. Men of a Certain Age is bound to attract attention, because its co-creator, and one of its co-stars, is Ray Romano; what shouldn’t be overlooked, however, is the fact that the show is also good. Surprisingly good.
  9. The series has transformed from hokey formula into one of the goofiest, most reliably enjoyable comedies around.
  10. This season is so much more effective that it’s practically a master class in how tweaks can transform a series--and in how hard it is to judge a sitcom early on.
  11. Sondheim’s frequent collaborator James Lapine directs, and he does an excellent job of stitching together interviews from more than four decades, including ones with Mike Douglas and Diane Sawyer, to form a portrait of the composer as both a young and an old man.
  12. The show could easily devolve into a mere cruel soap, its own guilty pleasure. But it makes one crucial move: it cultivates sympathy for the bachelorettes.... UnREAL allows the women to be individuals, vulnerable and distinct.
  13. Eastbound & Down holds together so well that it's worth looking past the ugly for the solid performances and the charcoal-black humor beneath, particularly in the final episodes, which delve into Powers's family history.
  14. The Americans can be wrenchingly emotional, and it’s terrifically well paced. But it doesn’t take itself overly seriously, and while the show looks pretty good it’s not the most cinematic series on the block.
  15. Awake may be hard to categorize, but it's worth our attention.
  16. It seemed doubtful that the show’s creators could keep those plates spinning for another round, but the third season introduces a fantastic new contrivance: a psychotic new network head, played by Chris Diamantopoulos.
  17. The show is well structured, with blunt but effective sitcom beats, and, refreshingly, it isn’t an “Entourage”-tinted fantasy.
  18. It is good, or, at least, it’s effective--unapologetic melodramatic fun, to judge from the first two episodes.
  19. It’s not the best-plotted series: stories tumble by like clothes in an off-kilter dryer. But there’s charm in intimate moments, as when two worldly women share confidences, or a lovely sequence in which Rodrigo wanders around the city, sniffing the air and playing pickup chess.
  20. The L.A. Complex is maddeningly low-rated, but it's worth seeking out: it's no masterpiece of cinematography, and can veer into melodrama, but at its sharpest moments the show has as much "Midnight Cowboy" in it as it does "Melrose Place."
    • 78 Metascore
    • 70 Critic Score
    At its best, the storytelling itself manages to accommodate a sense of historical contingency.
  21. he series doesn’t have the best pacing, or the best dialogue (“Well, if the mountain won’t come to Muhammad, we’re going to the morgue”), and in some areas it doesn’t even try: never has a show set in New York but filmed in Toronto felt more like a show set in New York but filmed in Toronto. (When Astoria appeared, full of burning garbage cans, all of Queens raised its eyebrows.) And yet the show overflows with greasy satisfactions, simply because it commits so fully to its own goofiness.
  22. The narrative flow is murky and chaotic, and at times it chokes up.... But The Leftovers builds in potency.
  23. Revenge is too juicy to write off as junk. It's got strong performances, from actors who don't condescend to their flamboyant dialogue.
  24. Much of the show’s appeal lies in the cast’s shaggy, naturalistic chemistry, which papers over the occasional imperfect plot turn.
  25. Unfailingly enjoyable.
  26. It took five episodes for me to get interested--three too many, in these days of television glut. And only after the seventh and eighth did the cruel and clever plot twists (which include graphic torture) become truly gripping. In the early episodes, the pacing was logy and the action muddy, with several subplots that itched to be trimmed or recast.
  27. A slapdash, invigorating, flawed-but-delectable mini-series with a premise of brass balls.
  28. The stories feel like polished fables, not precisely realistic.
  29. Cucumber is the toughest series to take, but it’s also the most ambitious--and, at its heights, it is emotionally wrenching and acridly funny, an audacious and original expression of Davies’s challenging, often critical ideas about gay male identity.

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