The New York Times' Scores

For 2,158 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Mixed: 0 out of 1043
  2. Negative: 0 out of 1043
1043 tv reviews
  1. On the evidence of this handsomely produced, surprisingly grisly and solemnly wacko show, though, the main benefit of opening up the story is gaining access to a whole new set of World War II clichés.
  2. The results sometimes engaging, often frustrating. ... He oscillates distractingly among tones and styles, jumping between dark-comic satire and earnest melodrama. The juggling of plot lines results in scenes continually being cut off before they develop momentum. It’s too bad, because scene by scene, piece by piece, there are things to like.
  3. The performances and production values may be enough to keep you around to see whether the story picks up steam, and whether MacLean finds more original ways to shape his ideas into drama. “City on a Hill” keeps threatening to be interesting and exciting, but so far it hasn’t pulled off the job.
  4. More Corden would have given the show more life, and a more unfettered Corden might have been able to cut through some of the gauze of earnest sanctimony that enveloped the ceremony to an even greater extent than in recent years. ... In its main job of drawing paying customers to the plays, the night was a mixed bag. The biggest musicals fared the worst in the production numbers.
  5. “Big Little Lies” continues to offer the sharp, dark-comedic observations that made the first season one of the great thrills of 2017. What it does not offer, in the first three episodes, is an indisputable argument that there is material to power a second season, and maybe more, beyond the memory and repercussions of the first.
  6. There’s no energy or conviction in the storytelling, and while Linney, Gross, Bartlett and Page occasionally strike some sparks when they’re onscreen together, scene after scene goes by free of any real dramatic or emotional payoff. ... The story lines involving the younger characters consistently default to flat, safe conversations about gender and queerness. ... Draggy, preachy and a little morbid.
  7. This season, the fifth, is a typically tidy four episodes — short arcs being advisable when you routinely suspend all the laws of logic, psychology and police procedure. Neil Cross, who created the show and still writes it, has a gift for packaging the lurid and the preposterous into hypnotizing psychodrama that moves fast enough to keep you from thinking too hard.
  8. Diverting and mostly pleasurable. ... The BBC Studios production is studded with piquant performances by veteran actors, mostly British.
  9. Lord, it is “Deadwood”; not just a nostalgic exercise but a fair shorthand of what might have transpired in a fourth season. It can’t, in its abbreviated run, recreate the series’s full glory, but it does offer that glory a wistful toast. It’s not entirely necessary, but it’s wholly welcome. The dream stands before you, gutter-splashed and expletive-deleted lovely.
  10. A tale of human vulnerability doesn’t seem to have any human beings present. The home-life stories that are meant to add emotional heft are distracting and brittle, and the characters are under-imagined.
  11. A conventional, mostly laugh-free war story whose dominant notes are nostalgia, sentimentality and a resigned chagrin.
  12. The new season feels immediately confident, if inevitably less groundbreaking. Yet it continues to push its form. ... It remains an original.
  13. If the new season falls slightly short of the show’s usual standard, it’s because neither this character (this season’s antagonist) nor the performance in the role is as interesting as its predecessors. Otherwise, all the elements are in place.
  14. "Of Mics and Men" has ample early-era video footage and photos that capture the group in its raw joy, taking in the world that was opening up to them. The disagreements among members — and over the years, there have been countless — don’t kick in until the third episode, and even then, they’re refracted through the lens of resilient brotherhood. That generosity of spirit is also embedded in the filmmaking, which is patient and lets people speak their piece.
  15. The many revelations about Nassar have already been widely reported, but Carr’s film, which is also available on HBO, works as a worthwhile précis, featuring interviews with many of the women who came forward.
  16. Even when the writing feels a little vague or forced, Pike and O’Dowd make the scenes work. ... It’s hard to be pessimistic, because both performances are so expressive, aware and alive.
  17. Director Johan Renck take an event unlike any other in human history and turn it into a creaky and conventional, if longer than usual, disaster movie.
  18. There’s some ingenuity in the ways Feldman works out the story’s complications. ... But at the heart of the story, things don’t really add up or carry the emotional weight they should, because Judy and Jen are ideas more than characters.
  19. Their introvert-extrovert dynamic is the most familiar aspect of the show, and early on “Tuca & Bertie” seems to want to cheerlead more than challenge its leads. But the characterization deepens as the 10-episode season moves on. ... What really distinguishes the show, though, is Hanawalt’s surreal vision, the anarchic fluidity of the landscape, the series’s whimsically bending laws of both nature and physics.
  20. Watching “Chambers,” you can see various better shows it might have been--an entertaining supernatural murder mystery with Sasha as an intrepid Native American Nancy Drew, or a trippy, surrealist comedy (which would have made more use of Sasha’s uncle’s business, an exotic-fish store in the desert called Wet Pets). It’s too bad no one ordered a screenplay transplant.
  21. A rollicking eight-episode series ... Jones’s performance is a marvel, exuding vitality, charisma and sexual confidence. But she also brings Anne an empathy, humanity and glimpses of vulnerability.
  22. In its determined lack of adornment, its commitment to the straight and narrow — reflecting the personality of its hero — “Bosch” is an increasingly rare commodity in a time when genre dramas will resort to any kind of high-concept trickery to stand out. It doesn’t withhold information to create false tension, or play games with point of view, or arbitrarily ratchet the pace up and down. It just puts one foot in front of the other and trusts its audience to follow along. ... There’s less mystery than usual in that central story, though.
  23. “Ramy” is an effective rebuttal to stereotyping for the same reason that it’s simply good TV: It’s a complex, funny series about messy and specifically drawn people.
  24. At almost 150 minutes, the majority of “Homecoming” is what many viewers have already seen (and, perhaps, seen again and again) this time through a greater variety of angles and Instagram-like filters. ... The “intimate” and “candid” moments touted by Netflix are brief in comparison, appearing between long, uninterrupted musical segments from the show. Those moments will be enough to satisfy the overzealous Beyhive (though what Beyoncé-related content doesn’t satisfy the Beyhive?) and probably more casual fans and admirers, too.
  25. In this light, playful effort, the offhanded breeziness is a feature, not a bug. ... It feels very much like a movie a bunch of friends thought up late one night, perhaps while sharing a blunt, as a party was winding down. This is meant as a compliment.
  26. It’s awe-inspiring and easy on the eyes. ... Images used not just for the emotional gee-whiz factor but for dry commentary and damning visual irony. And it all builds to a series-ending sequence — I’m not used to saying “spoiler alert” for nature films, but I feel I should here — that I suspect will haunt me for a long time.
  27. Gates’s series is a great service, especially in its first two hours. ... The series’s second two hours — which cover subjects like the Jim Crow system, the Ku Klux Klan, W.E.B. DuBois, the creation of the N.A.A.C.P. and the ascendance of black popular culture — are engrossing but less urgent.
  28. For all its technical panache, puts stage center an overfamiliar biopic story of a brilliant, difficult artist.
  29. As characters make speeches about fatherhood and police corruption, and we sit through stiff, sentimental flashbacks to Ronnie’s stressful return from military duty in the Middle East, the show starts to feel like an earlier Showtime drama set in Chicago, the buppie soap opera “Soul Food.”
  30. Everything that was good about Season 1 is still good in the first two episodes of Season 2, the only ones made available to critics.

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