The New Yorker's Scores

For 169 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Fleabag: Season 1
Lowest review score: 10 Ghost Whisperer: Season 1
Score distribution:
  1. Mixed: 0 out of 108
  2. Negative: 0 out of 108
108 tv reviews
  1. This is astoundingly efficient storytelling, eight hours that pass in a blink, with even minor characters getting sharp dialogue, dark humor, or moments of pathos.
  2. Well cast, solidly structured, and emotionally stirring, the show is as sincere as the Bruce Springsteen songs that make up its score, a ballad of pragmatism with a passionate heart.
  3. As with last year’s introductory season, a Spielbergian sense of wonder and a John Hughes-like knack for underage anthropology invigorate the show’s approach to scary science-fiction.
  4. It continues to hum along wonderfully as an existentialist noir on the millennial tip. Or call it a character study in the form of a comedic thriller that’s geared to provoke anxious giggles.
  5. Mad Men is smart and tremendously attractive, and it stirs you more than it probably should.
  6. Three episodes in, I am charmed by Shaw’s way of sketching her character, Bridgette Bird, in brazen strokes of absurdity and delicate gestures of woe. ... Shaw proves herself a fantastically nimble performer, by turns tough and impish.
  7. “All the world is not, of course, a stage, but the crucial ways in which it isn’t are not easy to specify.” The writers (led by Penhall) and the directors (who include David Fincher) of “Mindhunter” play with this and related ideas about masks, frames, screens, and true selves in a distinct tone. As the show flows from mode to mode--slow-burn horror, arch workplace comedy, buddy-cop road movie--it returns its attention to performers, and to the daily problem of giving an audience what it wants.
  8. The dialogue isn’t always subtle, but it’s often sharp.
  9. The first four episodes of this season, though skillfully directed by Miguel Arteta, vary in effectiveness, but the third is pretty perfect, particularly Rhea Perlman’s performance as a double-amputee convict determined to escape from her hospital bed.
  10. At once a joyful watch and a morally destabilizing one, it bears some relationship to “Fleabag,” another dark British comedy driven by the narration of a deeply screwed-up individual, plotted so that its more compassionate themes come as a pleasant shock.
  11. Wide-ranging and genuinely funny.
  12. Episodes has a sly subversiveness that deepens over time, like mercury poisoning: it's an adult farce that is at once frothy and acerbic.
  13. The Jinx is wickedly entertaining: funny, morbid, and sad, at once exploitative and high-minded, a moral lasagna of questionable aesthetic choices (including reconstructions of ghastly events) and riveting interviews (of Durst, but also of other eccentrics, like his chain-smoking-hot second wife).
  14. McBride is comfortable improvising, and in Eastbound there’s a lot of pleasurable tension in watching Kenny create difficult situations with his poor judgment and get out of them with his escape artist’s quick brain.
  15. 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.
  16. The meanest sitcom in years—and one of the funniest.
  17. Younger has a disarming blend of brass and humility. The second season, judging from the first three episodes, is a real step up.
  18. 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.
  19. 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.
  20. When the moral arguments of Black Mirror grow strident, and overbearing klaxons ring about corporate surveillance states, an episode can weigh like a ponderous cyberpunk parable, and the effect is off-putting. Still, the series’s lively futurist premises and tight production design combine to supply shocks of recognition.
  21. Barry does get good comedic mileage from juxtaposing the exotica of the contract-killer life style with the mundane flavor of the straight world. Yet the comedic ambitions of Barry--which Hader co-created with Alec Berg--are large enough to accommodate deathly seriousness.
  22. Smart, salty, and outrageous, the series falls squarely in the tradition of graphic adult cable drama.
  23. 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.
  24. 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.
  25. The series has transformed from hokey formula into one of the goofiest, most reliably enjoyable comedies around.
  26. Claws does occasionally lean a bit hard on the wackiness; it has a tendency to overindulge when it comes to extended montages and slo-mo. But, honestly, who cares? On a hot day when a TV viewer is looking for a fun kick, it’s an appealing summer offering: a sweet mojito with extra pulp.
  27. There are twists and turns, but things never get confusing. Each episode ends with a small revelation that keeps Dory moving. Even minor characters get full arcs and smart backstories.
  28. BrainDead is aggressively funny and a little sloppy, and it’s that sick-joke aggression, the refusal to take itself seriously, that is the key to its appeal.
  29. Under its lurid surface, is smartly paced and frank--even thoughtful--about the disconcerting fantasies it provokes.
  30. Feud has its flaws--a jokey song cue here, blunt exposition there. But Murphy lets the contradictions sizzle: he knows that schlock can double as great art; that self-loathing can work both as a goad to ambition and as an emotional crippler.

Top Trailers