Newsday's Scores

  • TV
For 1,590 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 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 The Dust Bowl
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1050
  2. Negative: 0 out of 1050
1050 tv reviews
  1. The show's crisp, witty dialogue is mostly egalitarian among the ages, and everyone's great at working the words.
  2. Smart new cop show that takes time to build, but will reward patience.
  3. Still funny and still not for everyone. Louie remains very much a taste that you either acquire--or don't.
  4. A bit melodramatic, a bit manipulative, Touch is still one of the best pilots of the 2011-12 season to date.
  5. This evocative hour doesn't lionize Steinem, but simply lays out what happened.
  6. No relaxing allowed with Boss. Sorry about that, and sorry for this series, which remains smart, absorbing and particularly well done.
  7. Lizzie Borden takes an ax to many assumptions--including the one that Lifetime movies aren't worth watching.
  8. It all adds up to one solid nail-biter, with a profusion of clever clues that seems to cast suspicion on everyone.
  9. Smart newcomer with a pair of leads that turns The Americans into a likely winner.
  10. It's wonderful stuff, and we all seem to be on a voyage of discovery.
  11. Don't miss the pilot. It's the best new crime series of the year, whatever you call it, tabloid TV, exciting TV, real TV. [6 Jan 1989]
    • Newsday
  12. This playful hour gets under your skin with its quirky personality humor, at the same time it's spinning a pretty fair murder yarn. [12 July 2002, p.B51]
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  13. I've watched tonight's show, the pilot, three times already - and not because I'm searching for the clues that Affleck and Bailey have embedded in the film. I love hearing nerdy IRS agent Jim Prufrock's improbably forceful declaration of why he loathes tax cheats. I love the way the Push residents talk about their local "slow-dance bar" as if it were as commonplace as a KFC outlet. I'm curious why all the couples in Push make love every other night at precisely the same time. I admire the creative visual presentation, which rivals that of a good commercial or music video. [17 Sept 2002, p.B03]
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  14. This eccentric assemblage truly captures the distinct feel of Vegas-the night, the gallows humor of grisly work and the people who thrive on it. Sure, it's seedy, surreal and supremely specific. That's why we're hooked. [6 Oct 2000, p.B51]
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  15. I love the characters, the actors, the spell they weave, the way of telling a story. By the second episode, I didn't want them to solve the case so it would go on and on. Homicide: Life on the Street is another stroll down heartbreak alley. [31 Jan 1993, p.21]
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  16. This stuff is good. No, superb.
  17. It's just super, a triumph of programme-making that even Alistair Cooke himself with his famous British overstatement can't exaggerate. [28 Mar 1991]
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  18. Wonderful. ... It is a realistic drama, the sort of thing you might see occasionally on experimental "American Playhouses" on public TV. But nobody does realistic drama on commercial TV today. [1 May 1990]
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  19. A wildly funny family sitcom. ... I am in love with all of them after the first half hour. [5 Jan 2000]
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  20. "Molly Dodd" may not make me laugh 42 times in a 23-minute period, but it never made me wince, either. And it's even funnier this second season, starting tonight. [24 Mar 1988]
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  21. The best unscripted show on commercial television this season, which you may correctly point out is faint praise; but in this case, it's not.
  22. Hip deep in all the chicken droppings about the movie, you would hardly know that it's a damn good movie. [9 Sept 1993, p.109]
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  23. The Divine One's "Bette" is still good enough to win a Marvy for the best TV comedy of the year. [11 Oct 2000, p.B35]
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  24. There's a vibrancy here, and a clarity, that we haven't seen in network sitcoms in ages. The way ABC's "Lost" reconfigured dramatic storytelling, Showtime's Barbershop so invigorates the humor format that we hate to call it a sitcom. It's entirely its own animal. And that's evolution of a kind everyone can get behind. [12 Aug 2005, p.]
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  25. Sly as "The Larry Sanders Show," keener than "Fat Actress," more sympathetic than "Curb Your Enthusiasm," this new half-hour comedy hits the bull's-eye in every direction. It's funny, sad, smart and immensely appealing. [5 June 2005, p.11]
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  26. Like Hugh Laurie's irascible "House" title character, star Ellen Pompeo's newly minted Dr. Grey conveys such substance that you simply can't stop watching. [25 March 2005, p.B33]
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  27. My favorite new American TV sitcom of the year, a show that I want to spend every week with. [11 Apr 1989]
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  28. "Alien Nation" as a series has been a remarkable achievement in the dullest fall season in history. It is both entertaining, socially responsible, and significant. [7 May 1990]
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  29. Tonight's episode is superb, and barrels--relentlessly--toward the answers.
  30. [A] rewardingly seasoned new drama series that's practically indistinguishable from the acclaimed feature film, except that it's better.
  31. I haven't enjoyed a new cable comedy so much since the first episode of "Larry Sanders." [15 Oct 2000]
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  32. It's smartly acted, well written, funny, expertly directed and hugely entertaining. And utterly, totally, profoundly devoid of pretension.
  33. The 10 hours of PBS' immersive miniseries Carrier are frank and intimate, hard-hitting and heart-rending, rocking (with hit songs) and rolling (when the ship pitches so sharply, planes can't land).
  34. Be forewarned that opener is dense, quick- moving and largely absent the sort of explanatory dialogue that dramatic series typically use to ensure that we have our bearings. Even viewers who savored each installment of the original series may feel disoriented. Newcomers may feel as though they're watching a foreign-language film without subtitles. My advice is to videotape it, re-watch and have faith. The coherence quotient goes up by the hour, and patience will be rewarded. [30 May 2003]
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  35. It all flows from the heart in a way few shows do, unfolding with the ease of being surrounded by people you've known forever already.
  36. This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.
  37. The most intriguing thing, actually, is that Lost may not even need the hoodoo voodoo. Abrams and script creator Damon Lindelof ("Crossing Jordan") have already set up a pretty compelling cross- section of earthlings as a study of simply human behavior. [19 Sept 2004, p.11]
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  38. The result is not just a great comic book transfer but a warmly human cartoon that's goofy, clever and touching. And cool. What else do we need? [8 Nov 2001, p.B35]
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  39. A patchwork quilt of a documentary that becomes totally mesmerizing and hypnotic. [24 Sep 1990]
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  40. The writing and the story look and sound different. Even when nothing happens, it's different TV. [6 Nov 1990]
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  41. The writing is crisp, the performances nuanced and believable, the gradually quickening pace addictive. It's hard to imagine anyone who watches tonight's first episode not wanting to to see the second installment next week. [6 Nov 2001]
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  42. What comes out of Herman's head is the most imaginative, innovative comedy on TV since "Dream On". [5 Sep 1991]
    • Newsday
    • 83 Metascore
    • 90 Critic Score
    If the first two episodes are indicative of the kind of inspired lunacy these guys will produce over the next 20 weeks, the Kids may well be the successors to Monty Python, SNL and SCTV. [21 July 1989, p.5]
    • Newsday
  43. The writing is intelligent, wittily playing off our knowledge of the Superman lore, and the production values are on par with top-quality fantasy / sci-fi shows like "The X-Files."...Smallville is the most purely enjoyable dramatic series of the new season. Like Clark, this baby's destined to fly. [16 Oct 2001, p.B27]
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  44. When it was first on, I could see how good and admirable an effort they were making in blending the onstage and private lives of a comic, but basically I didn't care that much about it. But it's gotten better and better. By this year it's the one network comedy show that consistently impresses me and that I keep watching just for enjoyment. [19 Mar 1992]
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  45. Besides the fine acting, writing and an attention to period detail that borders on the obsessive, what makes this show so ambiguous and pleasantly iridescent is narrative tension
    • 79 Metascore
    • 90 Critic Score
    No doubt ABC has a hit here. The show's funny, and this is something you rarely get to say about a sitcom. [16 Oct 1988]
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  46. A smart, sophisticated and often hysterically funny adult cartoon. [17 Mar 1994]
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  47. The producers' storytelling bravura grabs your guts from the first tense second and doesn't let go. [29 Oct 2002]
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    • 52 Metascore
    • 90 Critic Score
    Tales From the Crypt scared the living bejesus out of me...We are talking major league fright time here, folks. [9 June 1989, p.5]
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  48. "The Critic" is still not for everybody. That's what I love about it. [5 Mar 1995]
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  49. Layering such unnatural proceedings into the family-drama format only intensifies both story angles when you do it right. And Cassidy has, with strong casting, solid structure and a fine feel for what's most frightening.
  50. Much better than the second season, happily. [12 Jun 1995]
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  51. It is a brilliantly written and played comedy with sharp repartee and genuine laughs. [31 Aug 1995]
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  52. 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]
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  53. 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]
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  54. He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]
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  55. There is an engaging sleaziness about "The Practice" that makes it special. [7 Apr 1997]
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  56. This version is a triumph.
  57. [A] stylish Gothic thriller that almost gives away a little too much Sunday. Otherwise, thumbs up.
  58. The same strut and swagger is here, except Ballers feels smarter and more clear-eyed about the dangers of this culture, in ways "Entourage" never did.
  59. 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.
  60. You've probably already heard Executioner is slow to get into. That's true. But (I think) the setup works, and (also think) it promises a satisfying series.
    • 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.
  61. Spader seems to be the only one who actually gets the gameplay here.... And the script seems to incite his appetite.
  62. Smart, intriguing thriller, but the opener is slightly overheated.
  63. Quiet, intelligent, worth checking out.
  64. Film lovers will--possibly against their better judgment--love Jones' Hitch.
  65. 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
  66. This unique series is about life's inscrutable mysteries and the search for answers. The town of Jarden--and the Murphys--appear to be rich with possibilities in that search.
  67. The pilot is ingenious but at moments maybe a little too smart for its own good.
  68. 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.
  69. Mostly fascinating tales from all the presidents' men that occasionally need (sometimes badly) journalistic balance and perspective.
  70. 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.
  71. Authenticity ranges wide enough here to engage the whole family.
  72. Wild start, but a good-looking one.
  73. It was a dark and stormy night--and a weird, fun, trippy one, too.
  74. Thought I was going to hate "Total Blackout." Then couldn't help laughing out loud.
  75. 24, in other words, is still thankfully 24.
  76. Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.
  77. Still very high quality, and still a tiny bit dull.
  78. The Gotham opener probably makes the most compelling case of any newcomer this fall that at least one promise will be kept.
  79. A fun show, but where, oh where is all this heading?
  80. Nightingale is really about David Oyelowo, a magnificent actor with astonishing range who draws viewers deep down into the darkness with his character. His skill in accomplishing this, of course, makes Nightingale something to be admired rather than loved, and, depending on your mood, maybe even something to be avoided.
  81. This campfire story may not be getting any smarter, but it should get even better.
  82. 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.
  83. Solid cast, intriguing premise, and--best of all--the Old West. Should easily be another winner for AMC.
  84. Takes time to get into, but once in, you're in.
  85. More of a continuation than a "remake," this one looks to be a winner.
  86. Saul is lighter and brighter than "Bad," and--particularly with Sunday's launch--often very funny.
  87. Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.
  88. 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."
  89. 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.
  90. Good newcomer that gets even better in the weeks ahead.
  91. A beauty that requires time and patience, but at least strongly hints at a payoff that will reward both.
  92. 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.
  93. 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.
  94. A surprisingly revisionist take on one of the most controversial trials of the decade.
  95. 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.

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