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 Pushing Daisies: Season 1
Lowest review score: 0 Workaholics: Season 1
Score distribution:
  1. Mixed: 0 out of 611
  2. Negative: 0 out of 611
611 tv reviews
  1. [The two plotlines] provides plenty of rich material for Sorkin on both fronts, and we can be sure he’s got plenty to say. The hope is that he will restrain himself enough so the rest of us can distill it into something we can digest.
  2. White Collar works mostly because we like the characters so much, and no matter where Neal and Mozz end up, nothing seems likely to make us rethink that affection.
  3. Somehow, it’s hard to appreciate the insights because the whole thing just feels so gosh-darned depressing.
  4. Sitcoms have succeeded on less, and while The McCarthys won’t dazzle anyone with spectacular dunks, it’s counting on the fundamentals being enough.
  5. It’s a breezy, amusing half hour with a lead character whose insecurities poke through her confident exterior.
  6. Matt Ryan plays title character John Constantine, and he gets an incomplete on his acting grade because he has so little legitimate material with which to work.
  7. A few horror-story cliches seep in, but with Bello playing a character who is strikingly unglamorous and at times not even sympathetic, Big Driver should deliver for its audience.
  8. We don’t dislike Annie or Jake. It’s just really hard to imagine where else Marry Me could go from here, and harder to imagine why we would care.
  9. Even by the soap-opera standards of telenovelas, it feels a little much. The pieces at first don’t always mesh smoothly. Rodriguez is terrific, though, and this could be that rare telenovela that assimilates.
  10. The Affair looks to be a bit more cerebral than some of Showtime’s other star shows. That makes it no less compelling.
  11. Once we know the setup, at home and in the workplace, we can pretty much figure what we're about to see and hear. That doesn't make the show less amusing or Cristela herself less appealing. It does mean that once it has found its pocket, at least in the beginning, it seems content to work inside it.
  12. So we have solid setups here for tales of love, redemption, friendship and the same championship dreams that made Rocky an American icon.
  13. The Flash forms a decent complement to “Arrow,” from which it has been spun off. If it doesn’t sparkle, it also doesn’t stumble.
  14. It’s easy to point out that the attackers here are the ones with the problem. But they also cause the problem. These aren’t deeply religious people who believe homosexuality is a sin. They come off as bullies and cowards who get their kicks from ganging up on someone who can’t fight back. It’s the worst side of humanity, still right there in the DNA.
  15. We don’t dislike the characters. We just don’t feel compelled to watch them, because they often don’t feel much more real than the animated characters they’re replacing on Fox Sunday night.
  16. If the season turns out to be primarily a complex Middle East thriller, that could still be entertaining. Homeland has just set us up to want more.
  17. The episode moves along at a good pace, with only a couple of moments when the timing feels a little too coincidental.
  18. Much of A to Z deals in a different kind of action than most recent sitcoms about young singles, where the only goal often seems to be setting up predictable sex jokes. Because of that, A to Z may seem a little less frenetic. In truth, that’s good.
  19. Until the show figures out how to make sitcom slapstick and inner-beauty melodrama work, it’s kind of a mess.
  20. At the end of each episode, you want to see what will happen in the next one. For a murder mystery, that’s a pretty good start.
  21. There may be a decent procedural lurking somewhere in here ... We get little payback, though, from watching a show that too often just feels uncomfortable.
  22. Once you get past its curiously unhelpful title, this six-part series offers a powerful look at the rise of women over the last half century, in fields from comedy to politics.
  23. It's a charming dance, and Gillan and Cho play it with the proper froth.
  24. The comedy is sharp enough, but also gentle. We like the characters. We probably even know them. And it never hurts to put the rom back into com.
  25. Santos very nicely balances her conflicting roles as the kid who wants to experience life and the teenager who finds she has become the mother. We’re rooting for her, the same way we root for the teens in other MTV dramas. The network does this stuff well.
  26. Tambor, a good actor, gets whipsawed by some of what he’s asked to do, and the show sometimes has the same feeling. It too often ends up finding neither the comedy nor the pathos in these tortured lives.
  27. It doesn’t offer enough fun to balance out the multiple improbabilities in its storyline, the constant time-shifts, the hard-to-follow scenes in the dark or what we’re expected to accept about the legal and academic worlds.
  28. It’s funny. It’s also scattered, and in the first episode it doesn’t push envelopes or test edges.
  29. There’s a Crescent City flavor here. But in the larger picture, not much on this menu is unfamiliar.
  30. It’s hard to explain why it all works, except it does.

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