Recaps for NYC 22

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'NYC 22' review: A by-the-numbers cop show

CBS has had no shortage of success with its cop-related dramas. In fact, for the 2011-12 season, the network has six shows in the top 20 that are based on police or military folks doing investigations. But with programs like "CSI" showing their age, it's no surprise that the network would look to insert some fresh blood into their line up. The most recent effort is "NYC 22."The Robert De Niro-produced show follows a group of police rookies as they learn the ropes and learn about themselves while fighting crime. If this logline sounds familiar, it's probably the exact same pitch producers gave with "Rookie Blue" and countless other cop dramas.The series features a United Nations of characters including Adam Goldberg as a former reporter, Leelee Sobieski as an ex Marine MP, Harold House Moore as a former NBA player in addition to Tom Reed, Judy Marte and Stark Sands. The whole crew is led... //

Review: CBS' 'NYC 22' a disappointingly generic cop drama

HitFix's Alan Sepinwall reviews the new CBS drama "NYC 22," in which Adam Goldberg and Leelee Sobieski play rookie cops in series created by Richard Price. //

Television Review: ‘NYC 22,’ on CBS, Looks at Rookie Officers

Rookie police officers from a variety of backgrounds come together in the new CBS show "NYC 22." //

TV Review: NYC 22 Has Fresh Characters in a Stale Package

I’m not convinced that the world really needs another hour-long drama about rookie cops on patrol, but if it does, NYC 22 (CBS Sunday 10 p.m.) will suffice. Created by novelist-screenwriter Richard Price ( Clockers, Sea of Love, The Wire ), the show follows a team of blue-uniformed younglings as they learn to police America’s biggest city. The pilot introduces the main cast of greenhorns and growly veterans with a sprightly, hip-hop-scored going-to-work montage, then fills in their family history and reveals what led them to police work. The best thing about this series is the way it delivers exposition and fleshes out characters without feeling as though it’s handing the audience a succession of annotated index cards. The dramaturgy is old-school, strictly third person limited: no dream sequences, no narration, no documentary-style onscreen titles, nada, just people doing and saying things while the camera looks on. The worst thing about it is the tediously flat yet glossy photography (a persistent problem on CBS dramas), and its intrusive and mediocre underscoring, which sometimes makes a good (if familiar) series insufferable. During the first couple of episodes, there were points at which the cast was acting its collective ass off in an intense yet fundamentally believable scene, and the music was working so hard to sell the horror, pathos, or poignancy of the moment that the moment’s finer qualities were suffocated. Read More... //