New York Daily News' Scores

For 1,463 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Empire (2015): Season 2
Lowest review score: 0 I've Got A Secret: Season 1
Score distribution:
  1. Mixed: 0 out of 611
  2. Negative: 0 out of 611
611 tv reviews
  1. The Dovekeepers is well-produced television, polishing a long-ago tragedy into a smooth story. That may or may not be the same thing as accurate history.
  2. It succeeds reasonably well in that goal, distilling the story of Jesus’ life into a tale of political and theological intrigue that could fit comfortably into a contemporary TV procedural.
  3. The writers skillfully interweave a visit from famed French designer Jeanne Lanvin with plots against Harry, postwar workplace gender tension, family betrayal and the aftereffects of shellshock to create, by the end of the season’s first episode, the looming shadow of catastrophe.
  4. Corden slipped easily into the chair vacated last December by Craig Ferguson. His easygoing manner fit well with his low-key banter, built more on everyday conversation than show biz flash.
  5. Dunham shows us why Hilary Knight doesn’t feel quite content, despite what he has done. Drawing Eloise clearly didn’t mean embracing her view of the world.
  6. Liv is funny as well as charming, and the no-frills CW production keeps the focus on the characters and the stories. iZombie is dead-on.
  7. The Royals doesn’t pretend to be much more than good fun, and it delivers that.
  8. This version has a brisker pace than the fine French original, though it wouldn’t be called action-packed. With its ominous and dark undertone, call it cerebral sci-fi.
  9. The problem arises when these plots become so intricate, and lurk so far beneath the surface, that many viewers will just put down the shovel and decide it’s not worth the effort to follow them.
  10. The new elements and mostly the performances make it worth staying around to see what other secrets lurk within.
  11. It’s not always comfortable or reassuring. It’s just a strong story told by a strong cast.
  12. Creator/writer/director Neil LaBute uses a theatrical style, heavy on dialogue. That works out well both for developing the characters and putting comedy into the situation.
  13. Forte himself isn't bad, it should be added. But like the human race when it seems to be down to a single person, the show doesn't feel like it has much of a future.
  14. CBS' newest cop show has ambition and potential. It just needs a few sparks to ignite.
  15. At the end of the day, though, what we've got is essentially more CSI--with a first-rate lead.
  16. Like the network's first original series, "Cedar Cove," Good Witch doesn't stray a micrometer from the Hallmark brand. You don't need witch's powers to figure out what's going to work.
  17. Wright, who already has won an Emmy for the role, remains one of the best parts of the series, while Underwood’s bottomless appetite for dark dealing keeps Spacey so deliciously detestable you can’t help but keep rooting for the bad guy to win.
  18. Maybe this will all work out. We’d like it to. Right now, the show could use a little couples therapy.
  19. John Maggio traces the Italian-American tale in a loving but clear-headed way.
  20. Book of Negroes, a six-hour Black History Month miniseries, will be fairly compared to "Roots."
  21. Rosie O’Donnell’s new standup special reminds us that sparing no target in comedy doesn’t necessarily mean revealing all.
  22. The Slap just misses being as sharp in the execution as it is in the concept.
  23. It’s a no-frills production with modest, but pleasant rewards.
  24. After a 40-minute trip through the strange life of Robert Durst, we have no idea whether he’s a killer or a survivor.
  25. The story lines feel a bit contrived, though, and the action sometimes a trifle forced. We like the spies better than their thriller.
  26. While much of the show is driven by the Huangs adapting to a new culture, Fresh Off the Boat finds the amusing parts of that experience without falling back on easy stereotypical jokes.
  27. Saul picks up plot speed rapidly at the end of the first hour. The beginning, however, is so deliberate it’s almost hypnotic.
  28. The whole thing feels awkward, including the way Ben provides running commentary on all the action in hindsight, after he's already dead.
  29. That spy-story [how skilled next-door neighbor and FBI agent Stan Beeman (Noah Emmerich) is at putting two and two together] part isn't unique. The other parts still feel fresh.
  30. Through a fast-moving combination of live action and CGI, Sons of Liberty shows how the point of no return became America’s starting point.

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