Newark Star-Ledger's Scores

  • TV
For 414 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 The Affair: Season 1
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Mixed: 0 out of 204
  2. Negative: 0 out of 204
204 tv reviews
  1. A cheeky mash-up of police procedural, screwball comedy, and horror parody with lots of heart. And, yes, lots of brains.
  2. The CW has done an impressive job building a snappy show out of one of the goofier heroes of the DC universe.
  3. It's funnier than most of what's on television these days, but it never coalesces into something spectacular.
  4. I've seen both of tomorrow's episodes, as well as next week's, and I loved every minute. But I'm also a geek who read Ray Bradbury and Isaac Asimov growing up.
  5. In that way, he's not unlike the super-competent Michael Westen from "Burn Notice," and "Human Target" has the same fun, retro-chic vibe as that USA series. But because it's on a broadcast network, the show works on a broader scale.
  6. NBC's half-hour slice of small-town life isn't perfect right out of the gate; few shows are. But it's so sure-footed and engaging that it would be a pleasure to see how it turns out. [7 Oct 2000, p.43]
    • Newark Star-Ledger
  7. You get out what you put into it--even in the episodes that are weaker, I was rarely bored--and it's a consistent scripted oasis in a sea of shows where people take lie detector tests on camera.
  8. Life Unexpected turns out to be a warm, sweet, fun family dramedy. The three leads are very likable, the stakes just high enough for the show to not seem inconsequential
  9. For one night, this is the best House, and its leading man, have been in a long time.
  10. Horne and Page have sweet chemistry, but what makes the show work is the cast of eccentrics that Corden and Jones have created around them.
  11. The challenges--including a head-to-head competition where pairs of chefs are sent into various New York neighborhoods and told to cook the local cuisine--seem appropriately Big Apple-centric without being silly.
  12. The jokes are tight, and Anderson, whipsawing between smooth playa and high-pitched dismay, is a very likeable lead. There is is a feel-good resolution, although not quite as sappy (and sappily effective) as those on "Modern Family."
  13. It is slow, and it requires work and careful observation, but when it achieves its breakthroughs, the effects can be as extraordinary and dynamic as any other drama on television.
  14. A welcome surprise - an unabashed melodrama that doesn't wink at the audience but doesn't take itself too seriously, either. Every choice it makes, from pacing to photography to music, seems just about right, and the casting is inspired. (I appreciate that it filled its lead roles with two young men who are somewhat credible on the court.) [23 Sept 2003, p.43]
    • Newark Star-Ledger
  15. The series tells hard, funny truths about marriage and parenting that often escape notice in other stories - truths which suggest that writer-creator-producer Marc Cherry and his collaborators have actually taken the time to understand the people they're satirizing. [2 Oct 2004]
    • Newark Star-Ledger
  16. The Lost season three finale was no fluke. The show has got its mojo back, and then some.
  17. It's an absurdist comedy about criminal behavior and suburban life that gently mocks its targets while taking its characters and their emotions seriously. [9 Jan 1999, p.23]
    • Newark Star-Ledger
  18. Whether Tara is herself or someone else (including a new alter), "Tara" works as both a character drama and an absurdist family comedy because the characters are so well-drawn, and because what happened before isn't forgotten as the show moves forward.
  19. There are enough intriguing, albeit deliberately unfinished, ideas in there to make it worth a look for any fan not only of "Galactica," but the kind of thoughtful science fiction it represented.
  20. I have no interest in fashion, little inherent fondness for soap operas, and I'm absolutely not the gender this show is targeting. And based on the two episodes I've seen, I'm going to be watching "Ugly Betty" every week. It's that much fun.
  21. The show's aura of jungle mysticism is so overblown it's hilarious. I love how the castaways have to kill rats for food and make fire with sticks, but the tribal council meetings take place on a lavish, obviously prefab jungle village set that looks like the Ewok treehouse city in "Return of the Jedi." (The million-dollar grand prize is sitting over in one corner of the set - a pile of cash in an open treasure chest. Very Scrooge McDuck.)...Asinine stuff - and intensely addictive. [2 June 2000, p.37]
    • Newark Star-Ledger
  22. Chiklis always sells his end of it, and when he has a great actor opposite him, you don't really notice how puzzling the story arcs would get.
  23. Krause could be hard to digest as the self-righteous Nate on "Six Feet Under," but he makes a fine, amusingly flustered straight man to the cast of eccentrics that Wright and producer Greg Berlanti have assembled.
  24. Hung has more to offer than just John Thomas jokes. Amidst all the sniggering humor about how Ray has been taught to "do your best with the gifts God gave you" is some smart comedy about the state of 21st century America in general, as well as a superb lead performance from Thomas Jane.
    • 84 Metascore
    • 80 Critic Score
    The documentary finally sags a bit in the final hour, albeit inevitably, as Jones and Timlett detail the making of the group’s final film, "Monty Python’s The Meaning of Life," by which point all six men were quite ready to be done with each other for a while, and then as we briefly glimpse them in their post-Python lives.
  25. Smith's work in "The Eleventh Hour" showed us exactly what Moffat saw in that audition...."Eleventh Hour" is also a great build-up for Karen Gillan's immensely likable Amy Pond, who has by far the most interesting, emotionally resonant backstory of the modern companions.
  26. Though I enjoyed NBC’s pilot for Community a little bit more, "Modern Family" has as assured and entertaining a start as you could hope for.
  27. There's definitely a joy to this series, no matter how dire things get for its characters.
  28. Those three performances are so good that they lift up everyone around them, whether it's Combs (best whenever he has Rashad or McDonald to spar with) or John Stamos, surprisingly subtle in what could be a thankless role as the white man who doesn't want the Youngers moving into his neighborhood.
  29. While at times it feels like a bleak HerskoZwick drama--"Fortysomething Going on Fiftysomething"--the stories are leavened with humor, and the chemistry between the leads, and their fine performances.

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