Newsday's Scores

  • TV
For 1,602 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 3.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Smash: Season 1
Lowest review score: 0 Donny!: Season 1
Score distribution:
  1. Mixed: 0 out of 1059
  2. Negative: 0 out of 1059
1059 tv reviews
  1. 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.
  2. 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.
  3. A surprisingly revisionist take on one of the most controversial trials of the decade.
  4. 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.
  5. 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.
  6. [A] richly deserved and well-produced documentary.
  7. Multiple-personality thriller starts a bit slowly Wednesday night, but early signs still indicate a summer keeper for TNT.
  8. The acting is first-rate, and so is the writing, but the violence is appalling, and not just appalling, but creatively appalling.
  9. By the end of the first season, the show had improved significantly, if not quite dramatically, and based on a viewing of the first two episodes, that trend continues.
  10. For Mel Brooks lovers everywhere (you know who you are), but it's on the light side.
  11. 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.
  12. The result is often funny, ridiculous, bathetic and silly. Plus, watchable. Against all odds, this might actually be a good closing season.
  13. 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.
  14. 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.
  15. Brush aside the hyperactivity and hard sell, and you're left with a winner.
  16. Beals and company (including Joe Morton as her remarkably flesh-and-blood boss) breathe life into this tale the way their characters restore life to patients, with skill and guts and, crucially, souls that radiate precisely what this show is about.
  17. ThunderCats fanboys and girls will approve, although the story does feel a lot darker and more violent.
  18. Terrifically hard to love, but some superb performances indicate that at least it's worth the effort to try.
  19. 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.
  20. The Young Pope is a fascinating mess with a puckish sense of humor and an outsized goal--to know the mind of God.
  21. 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.
  22. [The stories] mostly do stand on their own. Some are better than others.... a winning cast.
  23. 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.
  24. Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.
  25. It's silly, ridiculous, fun, outrageous and absurd. Plus, there's Brad.
  26. This is one crazy-paced show, and one smartly crafted comedy.
  27. 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.
  28. 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.
  29. 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.
  30. Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.
  31. Yet, for all its jam-packed insanity, Crazy Ex-Girlfriend can be one of the tube’s most perceptive and moving shows.
  32. The cast is good, even excellent. But Perry's the one who sells Go On.
  33. 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.
  34. White Collar is not original. But White Collar is enjoyable.
  35. 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.
  36. Fun, colorful, lively--but is there a real show here, or just a good joke?
  37. The actors hit that soap sweet-spot between honest reality and lurid theatricality under direction from pros like Michael Apted and Catherine Hardwicke.
  38. The parsing of detail is effective because by the end of Monday's pilot, I was surprised by an unexpected reaction: I actually wanted to know what happens next week.
  39. 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.
  40. While neither dialogue nor sitcom tropes could be called fresh, the pilot plays solid, relying on able actors to score under tight direction (James Widdoes).
  41. Marred by the usual hospital prime-time melodramatics, Pure Genius is still a compelling idea matched to a superior cast.
  42. The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.
  43. 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.
  44. 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.
  45. At times, Luke Cage feels like a series in search of a story, or a series intent on drawing one out, scene by chatty scene, over 13 episodes. (Six were available for review; I watched the first two, sampled the rest.) A cast this good, especially a Luke Cage this good, should compensate.
  46. OK, caution dispensed, tonight's episode is a good start. But wait till the baby comes.
  47. 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.
  48. Science channel publicity materials call the show "a real-life Twilight Zone," and in terms of mood, that's on the mark.
  49. A big fat wink to fans. The fifth season looks like a winner.
  50. Fun, light, colorful and original.
  51. It aims for epic, and sometimes hits epic--but it's a bit shallow.
  52. 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.
  53. Fans will love the sixth season opener. Prepare to be shocked. This is Scandal, after all.
  54. 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.
  55. The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.
  56. Approach Victoria for what it is--a lavish production with impeccable period details and some impeccable entertainment ones--and you will be pleased. Coleman, who’s wonderful here, assures that anyway.
  57. Hardy and cast are first-rate, but the story lumbers.
  58. The cast throws this curveball that catches the plate for a strike.
  59. 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).
  60. Nix knows how to dig deeper holes for his folks, while he broadens their motivations, sometimes recognized only along the way. Nix isn't bad at keeping the plot pot percolating, either.
  61. 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.
  62. Still good, still not for everyone, and almost gone for good.
  63. [An] entertaining, engaging start.
  64. This is an excellent remake featuring two actors--Caan and O'Loughlin--who almost seem made for each other.
  65. 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.
  66. Looks like a summer winner.
  67. JUNKies follows a familiar formula, but adds a buoyant burst of adrenaline when the guys spontaneously react to the inventions and their makers.
  68. Engaging docudrama with lots of interesting detail. Worth watching.
  69. Lots of first-rate performances--including by a dog--but some of the stories are a little bloated or unfocused.
  70. As always, a welcome summer visitor.
  71. 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.
  72. Method makes a solid case for Lewis as underappreciated auteur.
  73. The show is an old-fashioned courtroom procedural, but the pilot has enough sharp writing and well-greased plot twists to suggest future promise.
  74. As a viewing experience, Greenleaf is absorbing, hardly pulse-quickening.
  75. 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.
  76. 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.
  77. A sharply written, acted and directed start that will hook fans immediately.
  78. Nothing scary here, but Hollow is fun enough, and promising enough, too.
  79. 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.
  80. Who is the real Issa? Neither... or more likely both. That’s the series, and also the wellspring of the humor, which tends to be fleeting, subtle or, in a few instances, flat-out funny.
  81. 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.
  82. The pace has slowed, the ride less wild, the story refocused on Ray's "fixer" skills.... McShane and Holmes are welcome additions.
  83. Genius can be gimmicky, while those eternal questions about time travel and alien life forms are ultimately beyond the power of TV (or sand piles) to answer. But the value of this series lies in the attempt, which is ambitious and edifying.
  84. A great ensemble cast and characters who grow in complexity, and humanity, episode by episode. If you didn't know them after the second season, you will get to know them well in the third.
  85. Mars is interesting, and much more: Quirky, funky, earnest, intelligent, engaging and occasionally melodramatic.
  86. Fun, lively, interesting, but also tends to lose focus at times.
  87. 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.
  88. This is almost too clever, funny and ironic for MTV.
  89. [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.
  90. 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.
  91. Guirgis’s language is authentic and raw, and tethers Luhrman’s gauzy-romanticized world of the South Bronx to the ground. Best of all, the cast--mostly young and mostly newcomers--has figured out how to make this visual and stylistic gumbo gel.
  92. Fans will be happy--maybe.
  93. 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.
  94. It is amusing in the right places.... It's also reasonably smart without being show-offy. Tuesday's launch, meanwhile, is a nice reminder that nothing--at least that good stuff--has changed.
  95. Exciting newcomer with lots of action, and some guiding intelligence, too. (Demerits for a secondary story that doesn’t work.)
  96. A loving portrait of a lady--but who probably would be just as happy not to have this or any portrait at all.
  97. The film's essential weirdness felt real. The TV series' weirdness is more often just comical (or disgusting. One word: Spiders.)
  98. Mike Tyson Mysteries is highbrow lowbrow lampoon, alternately smart and stupid, dizzy and disgusting.
  99. Uneven, intelligent, weird, sometimes funny (more often not)--and almost consistently engaging.

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