New York Magazine (Vulture)'s Scores

For 1,041 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 66
Highest review score: 100 Better Things: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 633
  2. Negative: 0 out of 633
633 tv reviews
  1. Information about Esty’s background leaks out little by little. ... That approach is one of the things that makes Unorthodox — which is both a character study and, once Yanky and his dodgy cousin Moishe (Jeff Wilbusch) try to track Etsy down in Germany, a pseudo-thriller — so arresting. ... Haas gives an extraordinary performance here.
  2. They are just as delightful and life-affirming as ODAAT has always been. If anything, because the episodes are a bit shorter to fit inside a traditional TV half-hour slot rather than a streaming service’s free-for-all, the show is a touch better. It’s tighter, and the jokes land faster.
  3. Little Fires Everywhere is an effective, well-acted drama with some moments of real depth. Those moments of real depth just made me wish it achieved such moments more consistently.
  4. It’s the most frustratingly not-quite-there show on TV: structurally bold, visually arresting, often brilliantly acted, show-off-ily erudite (to the point of having three rich folks argue the accuracy of a Plutarch quote during a society gala), and woefully predisposed to turn subtext into text. But its sense of dread is so effective that it draws even skeptical viewers into its narrative mazes.
  5. Superb. ... To their credit, Simon and Burns, each of whom either wrote or co-wrote every episode, never get too heavy-handed in their attempts to make connections between the story they are telling and the Trump era. ... The cast of The Plot Against America does committed, convincing work across the board.
  6. Hillary is about Hillary Clinton, yes. But it’s also a recap of how America has viewed feminism and women seeking power during the late-20th and early-21st centuries. That makes it essential viewing. ... You might not agree with her. But after watching Hillary, you may be able to do something that America has had a really hard time doing over the years: You may understand her.
  7. Garland, who wrote and directed all eight episodes of the miniseries, takes an approach that’s restrained, deliberate, and more concerned with what the characters do and think than what they’re like. Those latter three qualities, however, stand out more clearly as flaws in the television world, which demands a narrative that can go deep, with characters we care about, and stay compelling over an extended runtime. Devs struggles on that front. ... That said, I was intrigued just enough to want to keep watching, partly because I was invested in the story but even more because I was impressed by certain elements of the series.
  8. Season four of Pamela Adlon’s FX series Better Things, created, directed by, and starring Adlon as an actress and a single mom raising three eccentric, steel-willed girls, boasts four episodes that are stone-cold classics, endlessly rewatchable and rewarding. The rest of the season is pretty good too — so nervy yet exact that it makes almost every other American TV show, even excellent ones, seem formulaic and timid in comparison.
  9. It’s not that there’s no appeal in the way Davidson performs the set. His shoulders are tight but his limbs are loose, and the comedy feels the same: anxious, jittery, but also casual, sliding haphazardly from idea to idea, shrugging when something doesn’t work and moving on. ... It’s too bad it still feels like a rough draft.
  10. Better Call Saul has consistently been, and still is, one of the best dramas on television. ... The series still feels like an independent organism going in surprising directions all on its own.
  11. The sprawling and excessive amount of plot, coupled with constant hopscotching through different locations and eras — announced, always, in massive, red Mindhunter-style fonts — isn’t even the show’s biggest problem. Hunters’ downfall is its insistence on swinging for all the fences without proving it can even hit a single.
  12. In keeping with High Fidelity’s musical sensibilities, it seems correct to describe the show not as a remake but as an interesting, fun cover of the classic original.
  13. Briarpatch is lovely to look at and its story clicks along at an entertaining clip. The trouble is that the second you stop watching it, none of its burrs stick.
  14. Despite Locke & Key’s heavy thematic dimensions, its potential for exploring the interlocking themes of memory and grief is undercut by a host of issues: its pedestrian score, which doesn’t trust the audience one iota to make obvious connections; its light-handed approach to the story’s horror elements; its tone, which renders the show a young-adult-skewed adaptation of the source material; and a lack of imagination in its approach to memory as a plot dynamic.
  15. I’ll be interested to see if McMillions does more to explore that angle in its last three episodes. For now, the first three chapters in this epic saga of burgers and lies definitely have my attention. Sure, if you want, you can even say they’ve stolen it.
  16. The show seeks to pull together notions of mythology, personal lore, and futuristic considerations of very modern problems, but often trips over itself in the process. But every time Picard was starting to lose me, there would be a spark of interest across the screen — a line, a gesture, a moment — that felt piercing and true.
  17. This series was never just about a single (horse)man. If Mad Men felt like the end of a specific chapter in anti-heroic TV, BoJack Horseman, which debuted less than a year before Mad Men’s finale, serves as the epilogue that officially closes the book. ... BoJack Horseman handles the developments in its long-running Me Too–style story line with the show’s signature mix of thoughtfulness, earned snark, and occasional outright silliness.
  18. The Goop Lab isn’t particularly hateable. Some of the episodes are even helpful. ... My chief complaint about The Goop Lab, believe it or not, is that its episodes need to be a little longer.
  19. There are eight half-hour episodes. Their scope is modest. The stories, which are sometimes delightful and sometimes tragic, are about relatively everyday lives. The show is beautiful.
  20. I’ve seen four episodes provided for review, and so far Avenue 5 is silly, sometimes uproarious, and even occasionally moving as it explores these questions. The series takes a minute to find the right rhythm, which it unfortunately can’t maintain with any regularity, but there’s a spark of imagination and enough narrative complication to make the show an intriguing watch as it attempts to find its balance.
  21. It’s a special that works because Jones is so good at measuring the distance between where she was and where she is now. She’s especially good at pointing out the absurdity of both sides, the young and the old, without losing the underlying kernel of understanding.
  22. As fun as it is to watch Malkovich inhabit him, he’s not as compelling as Pius, whose presence hovers over the season despite his being unconscious for a lot of it. ... The New Pope would be much more enjoyable if it were streamlined into the five or six episodes necessary to effectively tell the story that needs to be told. Instead, we get nine, at least three of which just tread water.
  23. What starts off as a relatively standard, well-executed crime drama eventually veers into more supernatural, King-style territory, and the two tones don’t necessarily mix well.
  24. The acting is not great. It is bad. ... Whatever its intention, AJ and the Queen is indeed awful. But it’s not good because of it.
  25. It’s tough to say how to square the final episode’s ending with the truly lovely production that precedes it. Because regardless of what Sanditon does at the end, the first episodes are completely enjoyable, and as Charlotte says to a friend when the series comes to a close, “I do not regret the time I spent there.”
  26. An earnest video journal about the challenges this dangerous sport poses and how the men and women who have made that sport the center of their lives rise to meet them.
  27. The underlying message of this lovely series enables the audience to hold nostalgia and a bracing sense of reality in their heads and hearts all at once, and that’s a rare and special thing.
  28. Despite the preshow line about Gervais being a “controversial,” unpredictable host — hyped unpredictability is the most predictable thing about the Golden Globes — what he did was totally expected. ... Fortunately, there were other moments in the evening that genuinely were surprising and made hanging in for the duration of the three-hour broadcast less of a slog than it was in the beginning.
  29. A smart and soapy noir work about the tensions between teenage girls, as well as an adult coach who still behaves like a teenage girl.
  30. There’s so much care and craft in Sack Lunch Bunch. All the musical numbers work, and occasionally they’re breathtakingly good.

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