Newsday's Scores

  • TV
For 1,328 reviews, this publication has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 3.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 Prime Suspect (UK): Season 1
Lowest review score: 0 Partners (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 869
  2. Negative: 0 out of 869
869 tv reviews
  1. It's one of those prehistoric kind of shows that is heartwarming and wholesome, that made me chuckle with the family and even cry. [26 Aug 1996]
    • Newsday
  2. The best new drama of the season, the only one of the 44 new shows that could join "Law & Order," "Homicide," "NYPD Blue," "Murder One" in the pantheon of quality shows. [11 Oct 1996]
    • Newsday
  3. He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]
    • Newsday
  4. There is an engaging sleaziness about "The Practice" that makes it special. [7 Apr 1997]
    • Newsday
  5. This version is a triumph.
  6. [A] stylish Gothic thriller that almost gives away a little too much Sunday. Otherwise, thumbs up.
  7. Pretty much all a fan (or critic) could ask of a cult series remake is this: Does the newbie measure up? Based on all available evidence--the 42-minute premiere--the answer is yes.
    • 74 Metascore
    • 83 Critic Score
    In Vogue doesn't get quite as far "in" as one might hope, but the mag and its polished crew never fail to intrigue.
  8. Spader seems to be the only one who actually gets the gameplay here.... And the script seems to incite his appetite.
  9. Smart, intriguing thriller, but the opener is slightly overheated.
  10. Quiet, intelligent, worth checking out.
  11. Film lovers will--possibly against their better judgment--love Jones' Hitch.
  12. They almost seem to jump off the screen; they have depth and dimension, and vivid colors proliferate. This new series retains its trademark humor, and trademark violence, too
  13. The pilot is ingenious but at moments maybe a little too smart for its own good.
  14. The show has sneaky depth. The leads are pretty without being "pretty," refreshingly down-to-earth likable, and able to flesh out their youthful stereotypes with this weird thing called personality.
  15. Mostly fascinating tales from all the presidents' men that occasionally need (sometimes badly) journalistic balance and perspective.
  16. A few new faces from last season are back, but the formula remains ironclad, right down to the soaring courtroom rhetoric and McCoy's somewhat suspect ethical calculus. This comfort food remains comfortable, indeed.
  17. It was a dark and stormy night--and a weird, fun, trippy one, too.
  18. Thought I was going to hate "Total Blackout." Then couldn't help laughing out loud.
  19. 24, in other words, is still thankfully 24.
  20. Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.
  21. Still very high quality, and still a tiny bit dull.
  22. The Gotham opener probably makes the most compelling case of any newcomer this fall that at least one promise will be kept.
  23. A fun show, but where, oh where is all this heading?
  24. Efron and Grylls--who manages to be personable in all his series, even when he's rappelling down an ice cliff in the Antarctic while being pursued by a mob of angry emperor penguins--do, in fact, make a good team, and a fun one to hang out with for an hour, too.
  25. Solid cast, intriguing premise, and--best of all--the Old West. Should easily be another winner for AMC.
  26. Takes time to get into, but once in, you're in.
  27. More of a continuation than a "remake," this one looks to be a winner.
  28. Saul is lighter and brighter than "Bad," and--particularly with Sunday's launch--often very funny.
  29. Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.
  30. While critics like me count quibbles, kids of all ages should share my husband's assessment: "It's a superhero show. Superman flies. Give The Cape a little space."
  31. This hour isn't perfectly paced, but its segues usually wind their way somewhere smart. O'Donnell remains a master of comic timing and tenor, holding the stage through the perils of fame, helicopter mothering, circumcision, women who don't "look gay," doctors lacking bedside manners, the persistence of childhood faith training and more.
  32. Good newcomer that gets even better in the weeks ahead.
  33. A beauty that requires time and patience, but at least strongly hints at a payoff that will reward both.
  34. Get beyond that preposterous premise outlined above, and you've got a solid piece of prime-time entertainment. This show knows what it is, and knows exactly what the core audience expects.
  35. Disney should be sent to detention for passing off such aural plasticity [laugh track], unfairly fouling the repute of the live-audience sitcom. But the rest of Girl Meets World does its job of bringing tween-based family viewing into the 2010s.
  36. A surprisingly revisionist take on one of the most controversial trials of the decade.
  37. Good start to the third season, and from what I sampled, it builds from there.
    • 41 Metascore
    • 83 Critic Score
    The dynamics of the show seem different enough that "Housewives" fans will want to give Miami a try. But we'll have to see if the plot lines will sustain interest.
  38. Maybe this episode really is about repression, erotica and split personalities. Or maybe it's just a good excuse for the show to shake the dust out, ditch the inferno of summertime New York and wander amid the glories of Paris while exploring the discreet bourgeois charms of Blair and Serena. Either way, it's a lot of fun.
  39. Multiple-personality thriller starts a bit slowly Wednesday night, but early signs still indicate a summer keeper for TNT.
  40. The acting is first-rate, and so is the writing, but the violence is appalling, and not just appalling, but creatively appalling.
  41. For Mel Brooks lovers everywhere (you know who you are), but it's on the light side.
  42. Leverage's pilot is particularly entertaining. The cast is fine, direction is expert, writing above average, and Hutton's Ford is almost convincing. But the payoff feels laden with cheese of another sort.
  43. The result is often funny, ridiculous, bathetic and silly. Plus, watchable. Against all odds, this might actually be a good closing season.
  44. The judging process seems arbitrary - a couple of artists are penalized for being too abstract; someone who is even more abstract (let's just say this one likes cats) goes to the next round. Otherwise, a winner.
  45. While the story is briskly and engagingly told, with some key players debriefed, there's not a lot new here. It's a very good beginner's history.
  46. Brush aside the hyperactivity and hard sell, and you're left with a winner.
  47. ThunderCats fanboys and girls will approve, although the story does feel a lot darker and more violent.
  48. Terrifically hard to love, but some superb performances indicate that at least it's worth the effort to try.
  49. All charisma and command, [Idris Elb] blasts through the screen in every shot while his performance is a constant reminder that the craft, at its best, is a gossamer of countless little details that add up to something magical.
  50. One little gripe---Pioneers needed to give a tip of the space helmet to some '50s pioneers, such as "Captain Video" and "Flash Gordon." Otherwise, it's all pleasure.
  51. Yes, Outlander can occasionally be a bit much for those not already enamored of its romance-novel leanings. (I plead guilty.) But for those open to textured historical sweep and/or time travel what-ifs (guilty on both counts), it's easy to lose yourself in this gritty production's pungent sense of place, character and dilemma.
  52. Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.
  53. It's silly, ridiculous, fun, outrageous and absurd. Plus, there's Brad.
  54. Easily one of fall's better new comedies, but don't expect to be blown away yet. The pilot offers just a taste of what's to come, which is plenty good enough.
  55. Modern Family is good. Better than good. Really good. O'Neil--dry and wonderful as ever--and Vergara (considerably less dry) are a winning combination.
  56. You have plain old smashmouth elemental TV story devices--good guys, bad guys, evil corporations, a family unit, and a headlong rush toward the Truth, whatever that may be. Plus this special bonus: Intimations of Jack Bauer.
  57. Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.
  58. The cast is good, even excellent. But Perry's the one who sells Go On.
  59. McKinley and its denizens feel just a little too cliched, the emerging romantic entanglements a little too forced, the female characters--notably Terri and Sue Sylvester--just a little too mean-spirited. Still, it's a great cast.
  60. White Collar is not original. But White Collar is enjoyable.
  61. The real pleasure of this series is watching them peel away the layers to this particular onion, often on long car drives across a vast, wet, undifferentiated Louisiana landscape.... The real problem with True Detective are those flash-forwards to the present day: Younger Cohle, at least, is interesting. The older version is gaseous and his maunderings often stop the show cold.
  62. Trade press has labeled this "'Easy Rider' Meets 'The Sopranos,'" which seems apt. Show comes from Kurt Sutter, longtime co-executive producer of "The Shield" (and married to Sagal) so that should give you a sense of tone and texture - violent, taut, well written.
  63. The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.
  64. Some wild twists, but you've seen a variation before on one of them. Nevertheless, the Patty Hewes story is almost over, and in Close's hands, it's still compulsively watchable.
  65. Will this be a good season? Undoubtedly, yes, and blood will be spilled. But if this opener is any indication, there's not enough fake blood in Hollywood to sate the fifth.
  66. OK, caution dispensed, tonight's episode is a good start. But wait till the baby comes.
  67. Nesbitt forcibly conveys the sense of a man who can't stop moving, even to sleep, until he finds his son. At least in the first hour--sorry, the only one I sampled--this feels like the kind of performance that just bought Starz a winner.
  68. Science channel publicity materials call the show "a real-life Twilight Zone," and in terms of mood, that's on the mark.
  69. A big fat wink to fans. The fifth season looks like a winner.
  70. It aims for epic, and sometimes hits epic--but it's a bit shallow.
  71. What's best about Time is its ambition; it glows with a near-theatrical shine, challenging viewers to think about TV drama as something other than boilerplate.
  72. The characters, scripts and performances are surprisingly smart--almost, dare I say, deep. And you still get the comic humiliations, nasty rivalries and teeny bikinis.
  73. The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.
  74. The cast throws this curveball that catches the plate for a strike.
  75. A ninth season. Wow. In fact, a change of scenery has done Scrubs a world of good. The new students are funny. McGinley is great as always--so, too, is Turk (Donald Faison).
  76. Akerman has to be everything. Good thing she's a nimble actress.... Whitford is always winning, and even the poor exes find wiggle room inside their cliches.
  77. Still good, still not for everyone, and almost gone for good.
  78. [An] entertaining, engaging start.
  79. This is an excellent remake featuring two actors--Caan and O'Loughlin--who almost seem made for each other.
  80. These actors are serious sitcom pros, and their show is actually about something genuine--sibling bonding/rivalry, parental button-pushing, relationship-building. It's nice to see some emotional meat in a live-audience staging again, feeding off the energy and reactions of real people.
  81. Looks like a summer winner.
  82. JUNKies follows a familiar formula, but adds a buoyant burst of adrenaline when the guys spontaneously react to the inventions and their makers.
  83. Engaging docudrama with lots of interesting detail. Worth watching.
  84. Whom to vote for--Dot or Bette? Or will Paulson end up splitting the vote? The special effects are so seamless and Paulson's performance so memorable that it's not a completely incidental question. Then, of course, there's Lange.
  85. Method makes a solid case for Lewis as underappreciated auteur.
  86. The show is an old-fashioned courtroom procedural, but the pilot has enough sharp writing and well-greased plot twists to suggest future promise.
  87. Entourage is clarifying a moral message--drugs will kill you, terrible behavior is terrible, and real friends are forever. It feels like a reassuring final season.
  88. What's special is something a bit harder to define, notably the chemistry, which Montgomery and Walsh have in abundance. The supporting cast is excellent, too.
  89. A sharply written, acted and directed start that will hook fans immediately.
  90. Nothing scary here, but Hollow is fun enough, and promising enough, too.
  91. Initial impression: It fits. Fans of Chalke will remain fans, and everyone who long ago realized that Elizabeth Perkins was the best thing about "Weeds" will as well.
  92. Because this is an all-for-one, one-for-all musical act, these groups are tight and have to be. As a result, the six finalists are very good--which largely makes for good TV.
  93. Fun, lively, interesting, but also tends to lose focus at times.
  94. Nightwatch isn't merely well produced, with clean, striking visuals and a sharp clarity in which even shadows seem to come into focus, but it's also alive with the sounds of a beautiful, vital and (most often in the dead of the night) dangerous city.
  95. This is almost too clever, funny and ironic for MTV.
  96. [Rhimes] may still be up to her old tricks, but here they seem fresh and energetic. Best of all, she has a solid young cast that pulls them off well.
  97. Tragedy is hard, comedy harder, while mixing both together seamlessly is just about impossible week after week. That Louie usually succeeds is a minor miracle. That it doesn't always is inevitable. Thursday's opener, "Potluck," has a funny twist but ends up in a strange, bitter place--even by Louie standards.
  98. Fans will be happy--maybe.

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