Newark Star-Ledger's Scores

  • TV
For 411 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: 61
Highest review score: 100 Deadwood: Season 1
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Mixed: 0 out of 203
  2. Negative: 0 out of 203
203 tv reviews
  1. It's the best-looking pilot of the season--maybe the best new show, period--even though it may not look that good in the future.
  2. The phrase "stream-of- consciousness" doesn't do it justice. Geyser-of-consciousness is more like it. What holds it together is the program's unique comic voice. [12 Sep 1997]
    • Newark Star-Ledger
  3. 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.
  4. For fans of the original movie, there are a number of callbacks to savor.... We're looking forward plenty of long, cold winters.
  5. Apatow despises formula. If he didn't, "Freaks and Geeks" might still be on the air, and while Undeclared isn't nearly as pessimistic or painful, it's just as observant - and, at times, even funnier...All I know is that re-watching the first few "Undeclared" episodes in preparation for this review gave me my first good, hearty laughs since Sept. 11. By taking the "Freaks and Geeks" formula and making it shorter, sweeter and mostly wince-free, Apatow has created a great new comedy that could become a major hit, even if Steven himself never gets around to picking a major. [25 Sept 2001, p.23]
    • Newark Star-Ledger
  6. 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.
  7. Outside of McGee, the new season suggests that Rescue Me has gone as far as it can go as a comedy/drama hybrid. Almost all of the best scenes are the funny ones - or the ones that start dark, then turn funny, like Tommy brainstorming with Mike (Mike Lombardi) on the best way to euthanize his ailing mother.[12 June 2007, p.41]
    • Newark Star-Ledger
  8. The premiere episode is riveting--the best pilot I've seen this fall. (That admittedly is not saying much.)
  9. 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.
  10. You have to work to watch this show. Characters and plotlines whiz by in a blur, and if you blink, you may miss an entire subplot. But the payoff is more than worth the effort: With its deep characterizations, dark humor, unpredictable plots and brilliant musical score, "EZ Streets" is fascinating television, unlike almost anything else now on the air. [27 Oct 1996]
    • Newark Star-Ledger
  11. At a time when every TV comedy seems content to look and sound like every other TV comedy, any show that tries to break the mold deserves to be applauded. And a show like Sports Night that's snappy, well written, thought-provoking, and sometimes funny and moving at the same time deserves no less than a standing ovation. [22 Sept 1998, p.59]
    • Newark Star-Ledger
  12. 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.
  13. A penetrating, demanding examination of race, faith, the pitfalls of self-righteousness and limits of parental love.
  14. Fey's parts of the premiere are terrific, and next week's episode is an even better--and sillier--showcase for her.
  15. With this cast, and the writing of Fresco and company, I expect Ted season two to again hit the heights of that first season. But these two episodes are a reminder of how hard it is to pull that off.
    • 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.
  16. The writing is sharp, and laughs are both low (Ehrlich commissions a Latino graffiti artist for a street-cool logo that turns out to be incredibly, hilariously vulgar) and high (in the same episode, Ehrlich's repeated attempts to avoid coming off as racist come off as racist).
  17. By reattaching his misery to 9/11, and by reminding us that everyone around him still shares in the miseries of that day, Rescue Me has lit a new fire under both the man and his show.
  18. 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.
  19. Even if you are familiar with the contours of the controversy over Scientology, Gibney's documentary, which won raves at Sundance in January and airs Sunday at 8 p.m. on HBO, is worth watching, particularly for the personal stories of former members.
  20. A relentless, ambitious perpetual motion machine that may go down as the most exciting thriller in TV history. [27 Oct 2002]
    • Newark Star-Ledger
  21. 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.
  22. 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
  23. The CW's Reaper and NBC's "Chuck," the two shows featuring the aforementioned Sam and, um, Chuck, are an unusual pairing in that they're not only both good--with ABC's "Pushing Daisies," they're the best new shows of the season.
  24. 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.
  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. 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.
  27. Nothing short of a TV miracle: a family show that's sweet, but not too syrupy, bitingly funny, but not mean-spirited and fun for viewers of all ages, without appealing to the blandest common denominator. [5 Oct 2000, p.37]
    • Newark Star-Ledger
  28. 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.
  29. The funniest and most romantic new show this fall. [24 Sept 1997, p.31]
    • Newark Star-Ledger

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