Newark Star-Ledger's Scores

  • TV
For 494 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Marvel's Jessica Jones: Season 1
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Mixed: 0 out of 256
  2. Negative: 0 out of 256
256 tv reviews
  1. Magnificent Seve" can't hold a candle to its cinematic predecessor, or to most of the old TV classics like Gunsmoke. But in a world where all the cowboys rode off into the sunset decades ago, we'll take a watered-down Western just fine, ma'am. [3 Jan 1998]
    • Newark Star-Ledger
  2. It feels, at times, like the episodes are trying too hard to be self-referential, with lots of jokes at the expense of NBC and General Electric, and with Baldwin seeming to address the audience directly at the start of the premiere.
  3. Like all the Bruckheimer procedurals... you know what you're getting from the jump: solid but unspectacular acting and storytelling that will leave you satisfied without rocking your world.
  4. What you do after surviving the end of the world as you know it is an intriguing premise, and when "Jericho" sticks close to that, it's one of this season's more promising new dramas.
  5. The larger problem may be whether there's enough material to cover an entire season.
  6. For now, at least, the satirical elements aren't as sharp as other popular cartoons like "The Simpsons" or "King of the Hill" or even "Beavis & Butt-Head." [13 Aug 1997]
    • Newark Star-Ledger
  7. Lewis is a strong enough actor (again, see "Band of Brothers") that there are moments where he pulls together all these tics into a character who could be interesting, but too much time gets wasted on pedestrian mysteries to give him room to work.
  8. Part of the excitement of "Watching Ellie" comes from wondering whether the people who made it can get around the creative obstacles they created. [26 Feb 2002]
    • Newark Star-Ledger
  9. Neither trainwreck nor masterpiece, the new "90210" was exactly what nobody expected it would be: remarkably faithful in tone and spirit to the original adventures of Brandon, Brenda, Scott Scanlon and company.
  10. There's plenty of humiliation in I Survived a Japanese Game Show as well, but there it's so varied and strange--and very much in keeping with what I understand of those shows--that it doesn't get repetitive or annoying.
  11. Damages offers two superb performances by old pros Glenn Close and Ted Danson.... One thing it doesn't have: a compelling main character. It's a doughnut show: lots of sweet, satisfying goodness around the edges, nothing in the middle.
  12. Toward the end of the second episode, two characters who have no business acting chummy with each other get in the back of a car together and do exactly that. And rather than make me eager to pop in my screener of the third episode (which I did, eventually), it just killed all the buzz I had built up to that point.
  13. I don't know that there's a long-running series here--even the pilot runs out of steam before the end--but I did laugh several times.
  14. The pieces shouldn't fit together--Earl's celestial presence with Grace's raging sex life, discussions of metaphysics with police procedural plots--but somehow they do.
    • 59 Metascore
    • 60 Critic Score
    Even when "My Boys" isn't wildly funny (which would be most of the time, frankly), it has a lot of charm.
  15. A show with such a weird mix of tones and subject matters needs a strong cast to even have a hope of working, and for the most part, the ensemble remains sturdy.
  16. Las Vegas is definitely watchable; the pace is so fast that it's as if the filmmakers are fast- forwarding so you don't have to. But the plot is so tangled it's almost incomprehensible, the grace notes are laminated beneath visual slickness - and throughout, it's hard to shake the feeling that you've seen it before and don't need to see it again. [22 Sept 2003, p.35]
    • Newark Star-Ledger
  17. If the "Shark" writers feel the need to, in the very first episode, soften their hero in a way the "House" writers haven't had to do in two-plus seasons, how warm and fuzzy will the character be by November sweeps, let alone the end of the season?
  18. So long as Lewis is around, Life will be several steps above those cookie-cutter police procedurals.
  19. Basically, it's a dumber version of "The Shield." Swayze's performance and the always-memorable Chicago locales are frequently undercut by dialogue that's clumsy and/or spells out things we can see for ourselves, and by model-turned-actor Fimmel, last seen on the WB's deservedly short-lived "Tarzan" remake.
  20. Doherty and Milano, together with some silly dialogue and plots, promise some good campy fun. The problems come whenever their third sibling, played by Holly Marie Combs ("Picket Fences"), is on screen. You see, Combs can actually act, and whenever she starts to emote, she gives the trashy proceedings a bit more reality than they can handle. [7 Oct 1998, p.39]
    • Newark Star-Ledger
  21. The marquee interviews, taken as a whole, were Colbert's weak point--the Bush interview went longer in reality and felt rushed when edited. And Colbert's talk with George Clooney just fell flat.... What did work was the overall vibe--enthusiastic, encompassing, high-energy and with healthy dose of quirk.
  22. Fringe is just good enough to watch with or without the ads. But with Abrams, you expect more than "just good enough."
  23. The guys are so polite and harmless that it's hard to dislike them even when they repeat themselves in such a short span.
  24. Katic has the more thankless role, as the actress in this scenario inevitably does, but the necessary sparks fly when she and Fillion are on screen together swapping barbs, and hopefully as time goes on, she'll get more to do than play kindergarten teacher to Castle. How much you like the series will depend almost entirely on how you enjoy watching these two spar; for me, that was enough.
    • Newark Star-Ledger
  25. Despite a wonderful cast put to good use, a very well-designed parallel world and some marvelous turns of phrase, I can't help admiring Kings more than I actually liked it.
  26. Terminator: The Sarah Connor Chronicles happens to contain that show's most interesting character. It just ain't Sarah Connor.
  27. Bored to Death (created by real-life novelist--but not private dick--Jonathan Ames) as a whole is so dry in its comedy that there's very little margin for error. (Like the "Star Trek" movies, I found myself enjoying the even-numbered episodes and struggling through the odd-numbered ones.)
  28. "Write what you know" is a cardinal rule of writing, and Fey certainly knows this world better than Sorkin -- even if "The Girlie Show" is lame, I believe it exists in a way I don't with "Studio 60" -- but the history of failed behind-the-scenes sitcoms and dramas is so long and ugly that she would have been better served using a different setting altogether.
  29. The performances by the three lead actresses (and by Amanda Seyfried as Paxton and Tripplehorn's eldest daughter) are so strong, and the nuances of life in such a complicated relationship so endlessly fascinating, that I'll suffer through the rest for a few episodes at a time before Bill's unsettling stare or Roman's calm, criminal sense of entitlement chases me off again.

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