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 Fargo: 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. The pilot is at its best when Cuaron's visual choreography takes center stage; at its worst, when any of the characters open their mouths.
  2. The grand, star-crossed romance between Alice and Cyrus is promising, and turning Alice into a willful Victorian riot grrl is a move that will resonate with many viewers. As in "Once," the computer-generated landscapes and creatures don't quite work--they look do look unworldly, but in a cheesy way.
  3. It has so much going for it on paper -- notably Mary-Louise Parker as a pot-dealing soccer mom -- but the series' creators remain so pleased with themselves that they're rarely as funny as they obviously think they are. [13 Aug 2007]
    • Newark Star-Ledger
  4. Like "Queer as Folk," The L Word is essentially a mediocre soap opera in soft-core porno drag. There's lots of hot, sweaty, half-naked bodies, but the heads attached spend so much time droning on and on and on about their mundane lives and loves that the sex scenes just feel like an intermission in between all the tepid girl-on-girl dialogue. [16 Jan 2004, p.55]
    • Newark Star-Ledger
  5. I like her a lot, but the shaggy-dog nature of the storytelling... made the comedy miss about as often as it hit for me.
  6. Reaper takes several steps back--and a few steps sideways--suggesting a drunken all-nighter may be in order, if it hasn't happened already.
  7. The Flashpoint pilot is competent, but very retro (there's an extended sequence of the team driving to a crisis point with their sirens blaring, the sort of thing that went out 15 years ago) and fairly dull.
  8. Eddie Kaye Thomas is fun as the occasionally felonious brainiac psychologist, but the rest of the characters are pretty one-dimensional, that one dimension being their social awkwardness.
  9. Some of the performances are good, particularly by Deschanel (who gets to sing near the end, good news for anyone who saw "Elf"), McDonough and Cumming, but solid acting and monkeys flying out of, um, someplace aren't enough to justify spending six hours over three nights on a labored attempt to make a classic children's story seem grown-up and cool.
    • 69 Metascore
    • 50 Critic Score
    He started off with a strong opening monologue.... But the heart of the show is supposed to be a panel discussion between Wilmore, one of his contributors and a guest panel that Monday night featured U.S. Sen. Cory Booker, hip-hop artist Talib Kweli and comedian Bill Burr, but eight minutes wasn't enough time to get any sort of meaningful (or funny, for that matter) dialogue going.... What did work was the "Keep It 100" segment, in which Wilmore posed a tough question tailored to each of his panelists, which they had to answer as truthfully as possible.
  10. V has to rise and fall on its story and its characters. Based on the pilot, both of those areas are spotty.
  11. At times "Cold Case" feels like an assembly-line product, slick and shiny but a bit rushed and impersonal. [23 Sep 2003]
    • Newark Star-Ledger
  12. It's an odd little show, often more David Lynch than David Milch, and after three episodes I'm still not sure I understand it all.
  13. If Guggenheim can deepen the personalities and show how the flash forward really impacted them, then they might have a show here. Because right now, there's an interesting idea, some good production values and a cool cliffhanger, and not much else.
  14. As usual, it's all too busy, too tonally inconsistent (the scenes with Bill's parents seem to exist not only on a different series, but a different plane of reality) and too often obscures the terrific work being done by Tripplehorn, Sevigny, Goodwin and Seyfried.
  15. And then, near the end of the premiere, something happened that put a dull ache in the pit of my stomach. I won't spoil it here - henceforth, it'll be referred to as The Bad Thing - but it seemed so tonally wrong, so in violation of everything that made the show and the particular characters involved so great, that I knew - I knew - this had been imposed on the production team by the suits at NBC. [5 Oct 2007, p.55]
    • Newark Star-Ledger
  16. The show feels cold, like it's holding the audience at arm's length.
  17. Cleveland isn’t an inherently interesting, or, worse, funny, character. His presence allows the writers (many of them white like Henry and Appel) to tell meta jokes about white people in Hollywood producing entertainment for a black audience, and occasionally some of the racial humor lands.
  18. It's not a bad show, but the mechanics of how they're going to abduct their latest target are far less engaging than how the team interacts with each other and how each member fights his or her compulsions.
  19. Defying Gravity--an international production with American actors--feels too slight, or silly, to treat as anything but the cheap, disposable summer programming it is.
  20. The writers try to imbue the narration with a sense of heartfelt nostalgia that came so naturally to a show like "The Wonder Years," but the contemporary setting and banal plotlines works against it.
  21. If Lie to Me wants to elevate itself above all the other shows like it, it not only needs to beef up the quality of its mysteries, but to spend more time focusing on these unexpected downsides of the power to live a life of absolute truths.
  22. It wants to be a smart-aleck comedy/thriller hybrid in the spirit of Elmore Leonard and Carl Hiaasen, but the jokes are rarely clever enough and the thrills rarely exciting enough.
  23. While the jokes may be funnier than "King" has been in a long time, the new show also feels more uneven and strained.
  24. "Family Guy" ... consists of almost nothing but pop culture references. ... Now, some of these gags are side-splittingly funny ... but there are way too many of them. [9 Apr 1999]
    • Newark Star-Ledger
  25. Yaya DaCosta ably embodies Houston's grace, confidence and teasing good humor--but she isn't given much to work with.... [Whitney's] music remains timeless, though, and that's when Whitney comes to life.
  26. It’s a bland, interchangeable bunch, with most of them having a single identifiable trait.
  27. If you've somehow never seen any of the twelve dozen procedural crime shows that CBS does, it might feel a little new, but too often the scenes with Don and his colleagues feel obligatory, like everyone is doing their best to keep the plot moving until Charlie bursts in with the correct digits. [21 Jan 2005]
    • Newark Star-Ledger
  28. The sex is all implied rather than shown, as is much of the drug use. It's a very PG-13 approach to potentially R-rated subject matter--and that's the problem.
  29. It was the usual schtick from Leno--which is probably just what his fans wanted to hear after he'd been out of late night for a year and off TV altogether for weeks--with jokes about the Olympics, Dick Cheney, and, of course, the flagging fortunes of the network he's on.

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