Newark Star-Ledger's Scores

  • TV
For 474 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Office (UK): Season 1
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Mixed: 0 out of 243
  2. Negative: 0 out of 243
243 tv reviews
  1. Though it rushes a bit through its final episode, Torchwood: Children of Earth is big in a way that very little of TV aspires to anymore. Until we see what kind of late charge "Mad Men" will have when it returns in mid-August, this is the most exciting television of the summer.
  2. Nix and company had a very thing going last season, and they've found a way to change the show a little without screwing it up.
  3. Because the comedy is so strong, the cast is so likable, and everyone involved so obviously has a passion for making the show as entertaining as it can be, there's a sense of joy around "Chuck" that's infectious.
  4. The hour offers up office intrigue, romantic complications and a classic Don Draper pitch, not to mention the usual brilliant acting from all involved.
  5. The fifth and final season may be the most overtly farcical, but only because things in this slightly fictionalized Baltimore have become, if you can imagine, worse than ever.
  6. There are shows on television that are smarter than Chuck, deeper, more ambitious, whatever. At the moment, I can't think of one that's more fun.
  7. The only real sin of "Joan" so far is the presence of Joe Mantegna as Joan's police chief father. Mantegna, as always, is great, but his presence in what should be a small role apparently freaked out someone at CBS. So Hall tries to give him more to do by devoting a good chunk of each episode to unrelated crime stories - very mediocre ones, at that. [26 Sept 2003, p.57]
    • Newark Star-Ledger
  8. Felicity is very clearly targeted at the Clearasil set that worships at the altar of the WB's "Dawson's Creek," but if the show can maintain the charm and poignancy of the pilot, adults may also want to pay homage to television's newest star. [29 Sept 1998, p.47]
    • Newark Star-Ledger
  9. Party Down may not reinvent Starz the way "Mad Men" did for AMC, but it's a very funny series that any cable channel would be lucky to have.
  10. I've seen five Archer episodes--and laughed frequently and loudly at all five.
  11. Twists and rule tweaks will only carry a reality show so far by the time you're into the sixth season. The format itself has to be durable, and the casting has to be sharp--both of which seem to be the case in the early going.
  12. Hart is a delight as Sabrina. She's warm, charming, always plays Sabrina as a vulnerable teen first, and a superpowerful witch second. The writing is very squarely aimed at younger viewers, but an occasional joke slips in just for the grown-ups. [27 Sept 1996, p.67]
    • Newark Star-Ledger
  13. The premiere doesn't necessarily have the sort of mythical, spine-tingling moments that the first season provided from time to time, but the acting remains strong (particularly by Chandler and Britton, the First Couple of primetime) and it feels like an episode of Friday Night Lights in a way that very little of season two did.
  14. Nip/Tuck is the right show at the right time, a pointed, funny attack on the body biz and another winner from the cable channel that brought us "The Shield" and "Lucky." [21 July 2003, p.25]
    • Newark Star-Ledger
  15. Now that Sutter and company have finished the long and difficult task of fixing what wasn't working, I want to know everything it has to offer--even if some of those things may give me nightmares.
  16. Chuck starts a step slower, with more exposition in the first two episodes and no larger-than-life character like Satan to smooth over that, but by episode three, it's just as assured and entertaining in its own extremely similar way.
  17. In Plain Sight is a definite for any summer TV To-Watch list; don't cross it off until you've seen at least one.
  18. It's at once a simple, R-rated office comedy about a bunch of people who would have nothing to do with each other if they didn't work together, and a pretty wicked satire of the quest for fame at all costs.
  19. A show this whimsical needs a few anchors to avoid floating away altogether. Emerson is one, and the hands-off Ned and Chuck romance is the other.
  20. And as the new season begins, it becomes clear that gags are easier to write in abundance than gag lyrics. The non-melodic portions of the show are still a scream.
  21. Fey's parts of the premiere are terrific, and next week's episode is an even better--and sillier--showcase for her.
  22. Rarely have I smiled as early and as often at a new series as I have at this one, which manage to be gentle and sweet and lighter-than-air without ever departing from the Earth that we know.
  23. With the start of season two, it looks like the expectations might finally meet the reality--or however real a show with aliens and time travel can get.
  24. Because Dexter's victims are always so evil, we're inclined to root for him, but moments like that--or one in where Dexter admits he doesn't really care about saving innocents, just scratching his itch to kill--gives the show more moral complexity than you would expect, and it's the better for that.
  25. The "Seinfeld" plot doesn't kick off until the season's third episode. The first two, meanwhile, are a reminder of what a brilliant show, and a deep cast of characters, Larry has built ever since he said goodbye to Jerry and company.
  26. The Good Wife is confident and polished, and a much better showcase for Margulies than her last legal drama.
  27. The cases-of-the-week here are not groundbreaking but some are a bit wacky (death by maple syrup), and Battle Creek promises at least one grand mystery--if Duhamel's FBI agent is such an ace, what did he do to rate a posting in beleaguered Battle Creek? Agnew is chomping at the bit to find out, and so are we.
  28. Public Morals is engaging enough, with a jazzy pace, assured direction and a number of fine performances.
  29. What makes a marriage work, and what sacrifices are worth its maintenance and upkeep, are plumbed here with surprising dexterity.
  30. It's effective at quickly making us care for these docs and particularly at orchestrating the cases of the week to an emotional (and emotionally manipulative) crescendo.

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