Newsday's Scores

  • TV
For 1,250 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 3.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 Party of Five: Season 1
Lowest review score: 0 Running Wilde: Season 1
Score distribution:
  1. Mixed: 0 out of 812
  2. Negative: 0 out of 812
812 tv reviews
  1. 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.
  2. Future episodes aren't as snappy or scenic. But Shahi & Show deliver win-win, anyway.
  3. The cast is phenomenal, the writing inventive and genuinely funny, and you could pick just about any character--Andy or Ann, or Ron or Tom (Aziz Ansari) and almost mistake them for the show lead instead of Poehler. But still not quite in the same league as the show that precedes or the one that follows.
  4. Labine and Greer completely hijack the show, and almost threaten to turn Biggs (you'll remember him from "American Pie") and Chalke ("Scrubs." "Roseanne") into props. A well-made and skillfully executed sitcom. Oh--almost forgot--fun, too.
    • 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.
  5. These stylish suits aren't empty, by any means. But we'll have to see if USA is truly willing to let its heroes' souls get emotionally naked.
  6. Fair warning, dear reader: Wilfred is intensely vulgar, and only guys around the age of 28 whose ears, and sensibilities, are covered with scar tissue will find nothing offensive. Otherwise, it's very funny.
  7. 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.
  8. Science channel publicity materials call the show "a real-life Twilight Zone," and in terms of mood, that's on the mark.
  9. The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.
  10. There's texture galore in this city-shot cop hour, eyed by handheld lenses echoing "Homicide's" edge (and director Peter Berg's "Friday Night Lights" intimacy).
  11. A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."
  12. A not-bad start that promises to take Dex (and Dexter) in a slightly new and fresh direction.
  13. 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.
  14. Robbins means business, calmly prodding family members--and not just the apparent aggressors--to truly comprehend where others are coming from. She calls people on their bull, eliciting not just tears from stress but tears of realization.
  15. Solid cast, intriguing premise, and--best of all--the Old West. Should easily be another winner for AMC.
  16. Method makes a solid case for Lewis as underappreciated auteur.
  17. A great concept, mostly divorced from reality, with superb execution, just might extend forever.
  18. It was a dark and stormy night--and a weird, fun, trippy one, too.
  19. Good start to the third season, and from what I sampled, it builds from there.
  20. Cox remains a very engaging lead, and her supporting cast is rock solid.
  21. Still very high quality, and still a tiny bit dull.
  22. Raunchy and at times genuinely funny, Apartment 23 is jam-packed with promise--and inconsistencies.
  23. 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.
  24. Thought I was going to hate "Total Blackout." Then couldn't help laughing out loud.
  25. One thing you can say for USA: It knows what it's doing. It's got its shtick, and it's sticking to it.
  26. A sober, intelligent, placidly paced drama as only the Canadians can make.
  27. Bunheads seems to know exactly what it's doing.
  28. More of a continuation than a "remake," this one looks to be a winner.
  29. The good Lord created sitcoms like The Soul Man as relaxing, relatable humor with heart, and Cedric's new creation isn't about to mess with His template.
  30. Still fun, but the innocent first moments last season were better.
  31. 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.
  32. The cast is good, even excellent. But Perry's the one who sells Go On.
  33. A sharply written, acted and directed start that will hook fans immediately.
  34. The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.
  35. Brush aside the hyperactivity and hard sell, and you're left with a winner.
  36. [A] stylish Gothic thriller that almost gives away a little too much Sunday. Otherwise, thumbs up.
    • 86 Metascore
    • 83 Critic Score
    Fun, wild start to the fourth season--and that's just Kalinda's story.
  37. Chicago Fire definitely has familiarity going for it and familiarity going against it as well.
  38. A loving portrait of a lady--but who probably would be just as happy not to have this or any portrait at all.
  39. Film lovers will--possibly against their better judgment--love Jones' Hitch.
  40. Outrageous, eccentric, funny, campy--and too creepy for small kids.
  41. It aims for epic, and sometimes hits epic--but it's a bit shallow.
    • 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.
  42. For Mel Brooks lovers everywhere (you know who you are), but it's on the light side.
  43. Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.
  44. A surprisingly revisionist take on one of the most controversial trials of the decade.
  45. 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.
  46. Engaging docudrama with lots of interesting detail. Worth watching.
  47. 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.
  48. Leonardo may not like what Starz has turned him into, but you probably won't mind this joy ride.
  49. The intrigue continues and The Borgias remains one of TV's more reliable potboilers.
  50. 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.
  51. Takes time to get into, but once in, you're in.
  52. Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.
  53. This is almost too clever, funny and ironic for MTV.
  54. Good, compelling, creepy start.
  55. Looks like a summer winner.
  56. The Bridge is highly absorbing.
  57. 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.
  58. Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.
  59. Terrifically hard to love, but some superb performances indicate that at least it's worth the effort to try.
  60. 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.
  61. The acting is first-rate, and so is the writing, but the violence is appalling, and not just appalling, but creatively appalling.
  62. Mostly fascinating tales from all the presidents' men that occasionally need (sometimes badly) journalistic balance and perspective.
  63. Nothing scary here, but Hollow is fun enough, and promising enough, too.
  64. 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.
  65. Spader seems to be the only one who actually gets the gameplay here.... And the script seems to incite his appetite.
  66. Smart, intriguing thriller, but the opener is slightly overheated.
  67. 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.
  68. The cast throws this curveball that catches the plate for a strike.
  69. Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.
  70. Quiet, intelligent, worth checking out.
  71. Still good, still not for everyone, and almost gone for good.
  72. Slow start Sunday, but the drama's beauty and quality are intact.
  73. 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.
  74. Good newcomer that gets even better in the weeks ahead.
  75. 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.
  76. Kinnear is solid, but his Keegan is a work in progress--both as human being and TV character.
  77. Basic yet beautiful, Cosmos appears to be a winner.
  78. This entire series will rise (or tumble to oblivion) on the shoulders of their characters, and on whatever chemistry they create. First impressions are that it will indeed rise.
  79. The film's essential weirdness felt real. The TV series' weirdness is more often just comical (or disgusting. One word: Spiders.)
  80. 24, in other words, is still thankfully 24.
  81. This John Logan creation promises an intriguing summer pastime, for an eight-week run anyway.
  82. [An] entertaining, engaging start.
  83. 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.
  84. The actors hit that soap sweet-spot between honest reality and lurid theatricality under direction from pros like Michael Apted and Catherine Hardwicke.
  85. A beauty that requires time and patience, but at least strongly hints at a payoff that will reward both.
  86. 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.
  87. Multiple-personality thriller starts a bit slowly Wednesday night, but early signs still indicate a summer keeper for TNT.
  88. The Gotham opener probably makes the most compelling case of any newcomer this fall that at least one promise will be kept.
  89. Yes, "black-ish" can be fiercely funny, sharply observed, and unfailingly good-humored about the racial divide. But just beyond that glossy surface is a serious and even compelling undercurrent.
  90. The pilot is ingenious but at moments maybe a little too smart for its own good.
  91. The "Funny or Die" duo makes this zesty, single-camera comedy speak to adults by letting their lead be one.
  92. As with "HIMYM," guessing where that will be could be part of the fun--or frustration, if A to Z loses control of the story. Thursday's opener is so sharply executed, however, that doesn't look to be much of a concern.
  93. 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.
  94. That the whole pilot doesn't collapse into a pile of rubble is due to Rodriguez--or maybe because Jane is so confoundedly odd you want to see what happens next.
  95. Fascinating primer (that occasionally begs for more details and explanation).
  96. Fun, lively, interesting, but also tends to lose focus at times.
  97. The characters are vibrantly well-defined... And the writing is smart, with a light touch.

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