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 5.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Damages: Season 1
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. "No Direction Home" is so thoroughly captivating, with so much rare and new material - fresh interviews, as well as vintage film and TV footage - that it's frustrating that the focus is so narrow. [26 Sep 2005, p.87]
    • New York Daily News
  2. "From the Earth to the Moon" looks like an exceptional creative achievement, with individual films ranging from very good to flat-out great.
    • New York Daily News
  3. The two-hour show was a hodgepodge that never built momentum or drama. So this Passion aroused none. It was less than the sum of its parts.
  4. This is a gritty, bloody knuckled rock ‘n' roll fairy tale as told by the best in the business. There’s little chance that Vinyl will either burn out or fade away.
  5. Skillfully directed by Tommy Kail (“Hamilton”) and boasting exuberant choreography by Zach Woodlee and period-perfect costumes by William Ivey Long, Grease went down as easy as a chocolate malted.
  6. It all feels very been-there-done that and likely would have been much better had it been a gutsy, raw, warts and all cable show.
  7. A look at the first pay cable episode of the iconic kids show reveals that it offers the same mix of fun, education and goofiness that has kept Sesame Street a powerhouse piece of programming for 46 years.
  8. Aside from a couple of odd pop-culture references (characters played by Amber Riley and the Common busted out glittering iPads at different points in the show) NBC's The Wiz Live! was far tighter and far more fun to watch than last year's awkward production of "Peter Pan" and 2013's high-rated but wooden "The Sound of Music."
  9. Calm, nimble and damn funny, Noah didn’t even break a sweat and seems easily poised to carry on the satire and smarts that turned the Comedy Central talk show into a source of news and entertainment for an entire generation. The Daily Show is in good hands. That’s our moment of zen.
  10. A promising mystery thriller with a pair of strong, intriguing characters at the center.
  11. [Cosby: The Women Speak] doesn’t put forth any accusations we haven’t heard before. What it does is add dimension, because seeing the faces of the women Cosby allegedly drugged and raped drives home the point that this isn’t a horror movie, but a series of real-life events that changed lives and forced women to live with shame and secrets.
  12. This one’s just so relentless. As in “Glee” or “American Horror Story,” Murphy delights in misdirection and abrupt shifts of tone, both of which he does well. The dialogue is snappy and no pretension escapes un-nailed.
  13. Empire rules, bigger and badder than ever. If anyone thought Fox's breakout hit was over the top last season, the second-season premiere on Wednesday, Sept. 23, has so much murder and intrigue that it makes what's come before look as tame as C-SPAN.
  14. In the broader picture, happily, The Bastard Executioner doesn’t require any extensive knowledge of British or Welsh history. It may require some patience to understand where it’s going and start heading toward the payoff.
  15. The stories themselves require some tolerance for unlikely developments, but they’re cleanly told and move along at a brisk clip. It’s all a spot of good fun.
  16. All this [bathroom jokes] serves a fan base, which is fine. It’s just too bad that a lot of viewers who would appreciate the sports humor will pass on the uber-raunch.
  17. How long they can keep topping their previous screwups while giving us brief, telling glances of their deeply buried Better People may be the show’s biggest challenge. But right now, they’re bad in a good way.
  18. There’s every sign the ride from here to there will be as entertaining as the ride from then to now.
  19. One of the strengths of Narcos is its refusal to paint anyone as purely good or bad.
  20. At the end of the day, or at least the end of the pilot, we’re left with another quirky family that mostly seems to be heading only for the next laugh line.
  21. After a rather long walk down some shadowy alleys, Public Morals becomes a much more intense and traditional crime drama.
  22. Tucker, whatever its modest comedic achievements, feels like a retread.
  23. It helps a lot that [Blunt] is played by Patrick Stewart, who brings theatrical majesty to a man who quite sincerely believes words can change the world for the better.
  24. Survivor’s Remorse becomes simultaneously more uncomfortable and funnier as it launches its second season Saturday. Both those qualities are good.
  25. If this show has a future, it's got to be a bit more imaginative about its past and present.
  26. The pilot script manages to poke fun at more ethnic groups than the average episode of "All in the Family," but without any of the wit. Most of the jokes, like most of the characters, just sit there.
  27. Unauthorized captures the feel-good part. Unfortunately, it misses the “written well” part. Like, completely.
  28. The new cop series Hawaii isn't your father's "Hawaii Five-O." It's probably not yours, either, or your child's, or anyone's. It's awful.
  29. They also don’t know what’s happening back East, so we don’t start with any crossovers or even cross-references. There’s just the uneasy sense that something is wrong, which for TV drama purposes means something is right.
  30. The Smithsonian show generally accepts the standard premise that we either had to drop the bomb or face millions of casualties from a land invasion of Japan.
  31. Thanks to winning performances by Cameron, Chenoweth and others, it's a flick the family can sit down and enjoy.
  32. PBS goes deeper than Smithsonian [The Day the Bomb Dropped], partly because it’s a two-hour show, but also because it raises the thorny isue of whether that first bomb needed to be dropped at all.
  33. Touching, funny and smart.
  34. White People feels like it jumps around a lot. Much like America on the subject of race.
  35. The B-movie franchise’s third installment leaves a fishy taste behind. Even more than the first two.... While it’s still silly fun, you have to wonder if the whole concept--which was goofy and amusing and new two years ago--is getting, er, long in the tooth.
  36. Tut
    The soap keeps generating suds, while Kingsley plays it solemn and serious. Clearly, the producers started with the premise they could make this Tut anything they wanted. They just don’t seem to have ever decided exactly what that was.
  37. The songs aren’t all terrific, but like “Rescue Me” at its best, S&D&R&R succeeds both as wild, uncontrolled, absurdist comedy and touching, quiet personal drama.
  38. Neither The Jim Gaffigan Show or “Impastor” forget to be funny. Both shows have clever banter that makes us laugh.... [But] many scenes start to feel like setups.
  39. The plot contortions required to keep this going are straight out of a cartoon, and they threaten to take some otherwise nice characters with them.
  40. This four-hour documentary hits most of the right events. It just has trouble tying them together or, in some cases, figuring out what they will ultimately mean.
  41. Ray Donovan has picked up a couple of new guest stars and in the process picked up its game.
  42. There’s little action in Dates. It’s about language, verbal and nonverbal. When the words are this good, that’s enough.
  43. The Spoils Before Dying requires some time and in return offers some rewards.
  44. It’s still not a great show, but it’s better and just plain livelier than it was in its first run last summer.
  45. The Synths start to act in unexpected ways, and several ominous developments warn us that artificial intelligence must be controlled and directed. What stays with us about Humans, though, are the reminders of all the little ways things will change once we hand part of our lives over to robots.
  46. If you’re willing to suspend enough disbelief to enjoy Zoo, you will definitely think twice before ever again saying, “Here, kitty, kitty.”
  47. Happily, Scream maintains a sense of humor, reinforced with snappy, self-aware pop culture dialogue.
  48. Everybody has to work a little harder to find a story in this long-awaited sequel to Disney’s 2013 charmer Teen Beach Movie. And, like, so what? TB2 is crammed with catchy tunes, bright sunshine and a perpetually beaming cast of wholesome, winning kids.
  49. It’s a mildly interesting fantasy, but the story has too many holes to feel really compelling.
  50. Viewers can get depressed, infuriated or defensive. In the end, Requiem makes no overt political or ideological statement because it doesn’t have to. It’s about madness.
  51. Like all good sitcom characters, they sometimes drive us nuts. But we fall for them both and would like very much for this long shot to come in.
  52. Some of the comedy borders on dark slapstick. Some favors absurdity.
  53. Ballers won’t win the Super Bowl, but it’ll keep you watching.
  54. With cheating rock-star husbands, secrets and reporters everywhere, there’s no way we won’t see some soap splashing on this clean-cut, All-American story.
  55. Complications offers a fine ride.
  56. It’s still the kind of show that makes TV viewers reach for phrases like “golden age of television drama.”
  57. In the extended picture, it looks like season three might be playing a bit more with the larger concept of freedom--through the lens, naturally, of those who don’t have it.
  58. I love the idea of a superhero with a great big heart and a tiny little brain, and I love Patrick Warburton's fearless performance in the title role of this odd new live-action comedy.
  59. There’s nothing wrong with a warm rhapsody on the flowering of television. But when a TV series starts that way, it feels like it’s saying, “But first, a word about us.” And then we get to all the other stuff.
  60. Tonight's premiere looks a little bleak and proceeds a little predictably but this may well be due to the amount of exposition necessary to establish the world Carter and company will be exploring. [8 Oct 1999, p.144]
    • New York Daily News
  61. Jill and Vanessa aren’t discovering anything that “Real Housewives” watchers didn’t notice many episodes ago. Still, it’s reassuring to know the network that created the beast can also be amused at its underside.
  62. Power hits on all cylinders as it returns for its second season.
  63. The good news is, Beggars and Choosers has plenty of premise, and plenty of targets for satire. [18 June 1999, p.149]
    • New York Daily News
  64. If you're unfamiliar with the comic book and didn't see the movie, tonight's series premiere will go down easier if viewed with a mental attitude best described as "Just go with it."
  65. To its credit, The Whispers gets better by the end of the first episode. Unfortunately, it also shows signs of hurtling toward more complications than we need.
  66. It feels painted by the numbers.
  67. 3 AM doesn't pretend to have discovered people who live in the shadows and do things they don’t teach in school. What it does is poke into these lives, subtly examining the lines between the exhilaration of setting your own rules and wondering if that’s all there is.
  68. Aquarius sets up several subplots that are nicely turned, and as ’60s pieces go, it’s hardly the worst. It just doesn’t quite make you feel you’re there.
  69. In a lot of ways, 5th Grader is a daytime quiz show that’s moonlighting. There’s nothing wrong with that.
  70. Despite the best efforts of Nicole Kidman, who is operating way above the level of her material, this screwy fantasy nominally inspired by the lives of Grace Kelly and Prince Rainier doesn’t even make for a good fairy tale.
  71. There’s doubtless some dramatic license here. No matter. It’s a classic campfire story, from a land that truly was the Wild West.
  72. The humor and language are rough and there's a constant sense of wariness about everything from IEDs to the loyalty of some locals.
  73. Bessie doesn’t poke into deep psychology. It’s more a snapshot of an impressive, self-made life--with a great soundtrack.
  74. Suspense-building requires walking a line, though. If you spend too long getting to the point, the bubble you’ve inflated starts to lose air. That’s close to happening a couple of times, which is too bad, because when we get to the reveals, we’d like to still really care.
  75. It's hard to classify Grace and Frankie except to say it’s splendid television.
  76. The series itself, though it has a stylized look and interesting set design, begins with a lethargic lack of wonder. [9 Oct 2002, p.87]
    • New York Daily News
  77. Me, I have enough fun just watching the show, thanks. Interactive is too much work. With so much going on in "Push, Nevada," I'm happy with active.
  78. It’s a show rife with bad decisions, though only people who can take several steps back are likely to find the humor. The characters themselves rarely run into much occasion for merriment.
  79. Black Scorpion is good bad - fun to watch as a tacky diversion. [5 Jan 2001, p.109]
    • New York Daily News
  80. There's a funny and disturbingly insightful tale in Showtime’s latest unorthodox comedy. Regrettably, it often disappears under a lava flow of vulgarity.
  81. Neil deGrasse Tyson’s new weekly late-night talk show plays like a Flintstones vitamin. He wraps the real message in the kind of sweet packaging that makes viewers hardly notice they’re getting something that’s good for them.
  82. It’s beautifully filmed, with a measured pace and a priority on the performances.
  83. Matters are only getting more complicated and dangerous for Sarah (Tatiana Maslany) and her sister clones as season three of Orphan Black gets under way. The consolation is that this is good for viewers, who get to enjoy watching the show skillfully weave ever more complex entanglements.
  84. As a television series, The Casual Vacancy stands on its own, but it has only a goblet’s worth of Potter magic.
  85. OK, if you don’t find awkward funny, you won’t get Veep. But terrific as Louis-Dreyfus is at playing a woman seemingly incapable of embarrassment, her large supporting cast also helps establish the show’s bizarre rhythm.
  86. The viewer simply has to accept that he knows where his comedy is going, and that while his standup has punch lines, the humor in his sketches often stems more from a cumulative impression than one-liners along the way.
  87. Unfortunately, Resident Advisors settles too often for familiar college hijinks and obvious sex gags that do nothing a hundred broadcast sitcoms haven’t already handled.
  88. Game of Thrones, partly because it’s as cold-blooded as its characters in treating personnel turnover as the natural order, seems to have little trouble keeping its pedal to the metal.
  89. The restless undertone that has permeated the show from the beginning does not abate as we start the final round of adventures and presumably get some idea where everyone will go after the cameras are turned off.
  90. With impressive clips and first-rate commentators like Hamill, Jonathan Schwartz, Terry Teachout and John Lahr, Gibney has explained why, like him or not, Sinatra mattered so much.
  91. 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.
  92. 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.
  93. 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.
  94. 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.
  95. 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.
  96. 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.
  97. The Royals doesn’t pretend to be much more than good fun, and it delivers that.
  98. 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.
  99. 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.
  100. The new elements and mostly the performances make it worth staying around to see what other secrets lurk within.

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