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. After the first season's packed finale, Sunday's episode settles down, takes a breath, and slowwwwws down. That's absolutely an auspicious and necessary development.
  2. A lesser known, and unloved Shakespeare play (which, incidentally, had other co-authors) comes to life Sunday, but the better plays air over the next couple weeks.
  3. Fans will love every minute--especially Roman's fate.
  4. Not perfect, but pretty darned good, and Moreno and Machado are a formidable comedy team indeed.
  5. Not consistently funny, perhaps, but when Best and/or Falco are on screen, the angels sing. Both are remarkable.
  6. It gets stranger, or--depending on your definition of justice--it gets better.
  7. 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.
  8. Episodes remains funny.... Mangan and Greig, whose characters remain perfectly, hilariously, beset by that terrible Hollywood contagion: Self-loathing co-mingled with self-preservation.
  9. 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.
  10. Happy Endings, cast and all, has now officially jelled. The show exists on the same cosmic (and comic) TV plain as "Scrubs," "Arrested Development" and that other late bloomer, "Cougar Town."
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  11. Fascinating primer (that occasionally begs for more details and explanation).
  12. Apartment 23 was and absolutely remains a huge heaping helping of Acquired Taste.
  13. Good newcomer that can drag, but Hemingway's direction keeps this one on track.
  14. Girls is as Girls always was--sharply observed, intensely self-aware and very funny.
  15. 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.
  16. The stories are intricate enough to hold attention, but not too intricate. The action, which always supersedes the chatter, is the thing, and here it's something to see indeed.
  17. Think of Fuller House as “Full House 2.0.” Same premise, same vibe, mostly same cast.... A winner, strictly for fans.
  18. The pursuit of answers feels both rewarding and enjoyable.
  19. The Americans remains a superior American drama and--admittedly, without having a working knowledge on the subject--possibly one of the best Russian TV dramas, too.... These four [episodes] also feel weighted and forlorn, as the chain of lies loop around and around the ankles of Paige and Martha, or those others unlucky enough to know Philip and Elizabeth, with an anchor just waiting to be tossed overboard.
  20. It’s more urgent and visceral, the blood more copious, the agony more intense. This Roots doesn’t flinch, but you almost certainly will. The cast is first-rate, too. ... But this Roots can’t quite escape the faults of the original. Kunta’s story, the Fiddler’s, and later Chicken George’s, are patterns, and also cycles. They seek dignity, but find only indignity--or abject cruelty--over and over.
  21. Slow start Sunday, but the drama's beauty and quality are intact.
  22. Kinnear is solid, but his Keegan is a work in progress--both as human being and TV character.
  23. Move past the word, and images (fortunately fleeting in the pilot), and Supergirl obviously has a major plus: Benoist.
  24. To make Agent Carter work, and work well, Atwell and ABC knew she needed to be a relatable human first, and a subsidiary member of the populous Marvel universe second. Those priorities are straightened out efficiently on Tuesday's episode.
  25. Almost public TV-like by current reality-show standards, this new edition is actually a lot like the original, absent the Velveeta. True-blue fans will rediscover its pleasures.
  26. As always, a sunny, laid-back pleasure.
  27. All those greens and blues--and I'm just talking about the trousers and jackets--make you almost forget how well-written and acted this show is; even the medical jargon seems (ummm) un-jargony and informative. The mini dramas are mostly, however, just a light summer breeze, as befitting unpretentious Pains.
  28. Fascinating, disjointed, moving, tiresome, elegant, tacky, fast, slow. There’s a little something for everyone here.
  29. Whatever it was that made Empire the sensation of the 2014-15 season hasn't gone away for the new season.
  30. Not for the squeamish, but a well-done new medical drama.
  31. Sunday's episode is a necessary decompression episode after last season's intense finale.
  32. Still fun, but the innocent first moments last season were better.
  33. Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.
    • 42 Metascore
    • 83 Critic Score
    Like any competent Bruckheimer, "Miami Medical" speaks TV very well. It spins the A, B and C story lines like plates in a circus act. It has reduced the medical jargon to the requisite bewildering-cum-authentic prattle.
  34. The Jinx does channel that we're-all-on-this-ride-together thrill that hooked so many listeners of last fall's NPR podcast, "Serial," about a murder of a Maryland teen. This may be a high-gloss treatment that utilizes all the tricks of the TV trade, including dramatic re-creations, and a way-over-baked credit sequence, but that sense of unfolding discovery remains.
  35. A well-crafted, well-intentioned documentary series that excels when it offers rare concrete examples of the amorphous role producers play in the musical process, while also shining a spotlight on a who’s who of great producers.
  36. The result is something refreshingly new, and bafflingly different.
  37. Outrageous, eccentric, funny, campy--and too creepy for small kids.
  38. With expectations low, this Exorcist surprises with appealing leads, and--a big bonus point--the return to TV of Geena Davis.
    • 86 Metascore
    • 83 Critic Score
    Fun, wild start to the fourth season--and that's just Kalinda's story.
  39. The intrigue continues and The Borgias remains one of TV's more reliable potboilers.
  40. A sober, intelligent, placidly paced drama as only the Canadians can make.
  41. Basic yet beautiful, Cosmos appears to be a winner.
  42. This John Logan creation promises an intriguing summer pastime, for an eight-week run anyway.
  43. Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.
  44. Leonardo may not like what Starz has turned him into, but you probably won't mind this joy ride.
  45. Caprica feels torn between soulfully mature ruminations and adolescent "accessibility" for gamers wondering where the space action went. Let's hope the pilot's spellbinding second hour points the way toward greatness.
  46. The most interesting character, or certainly most compelling, is Barkin’s Smurf. She’s a Ma Barker with cleavage, a brownie-baking Gemma Teller (“Sons of Anarchy”). Ultimately, she may be the one to seal the pact here.
  47. 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.
  48. Raunchy and at times genuinely funny, Apartment 23 is jam-packed with promise--and inconsistencies.
  49. Chicago Fire definitely has familiarity going for it and familiarity going against it as well.
  50. Good, compelling, creepy start.
  51. Ok so Better Off Ted can be oxygen-deprived. This is still one of the funniest shows on TV, and the cast sparkles with vets like Harington, Barrett and de Rossi...Anders and Slavin, too.
  52. 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).
  53. A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."
  54. Cox remains a very engaging lead, and her supporting cast is rock solid.
  55. Bunheads seems to know exactly what it's doing.
  56. 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.
  57. 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.
  58. The show spurts onto the air like ketchup spewed from an oversqueezed bottle, plopping frenzied mayhem all over everything.
  59. Huge looks and feels like a show that knows what it's talking about.
  60. 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.
  61. A not-bad start that promises to take Dex (and Dexter) in a slightly new and fresh direction.
  62. Bored sometimes lags and drags, as if it took a few tokes, too. But when it's funny--and Bored certainly can be--it's a winner.
  63. The Goode Family is a highly imaginative and often amusing variation on that one note.
  64. 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.
  65. The "Funny or Die" duo makes this zesty, single-camera comedy speak to adults by letting their lead be one.
  66. Good re-start and better than the real start last season.
  67. The new detectives seem so young, eager and fresh-faced that you almost think the Hardy Boys are on the case. Molina's Morales has a bit of that nice New York edge; Howard 's Dekker (in next week's episode) is a little stuffier, duller; he'd probably be better suited to "Law & Order: D.C."
  68. The show's an enjoyable diversion.
    • 62 Metascore
    • 83 Critic Score
    Housewives fans will enjoy the show but might tire of seeing yet another cast of wealthy, self-indulgent women. It might be time to change it up.
  69. Future episodes aren't as snappy or scenic. But Shahi & Show deliver win-win, anyway.
  70. The Jamie and Claire show moves to Paris--and in a sense, Frank and Jack do as well. A nice change of locale, and tone.
  71. There are many enjoyable performances by many wonderful actors, including Baranski, Panjabi and, the nicest surprise of all, David Paymer, who plays a judge. But you've seen much of this before.
  72. Based on the first three episodes, this looks like another finely crafted season. Also intense, uncompromising and demanding.
  73. A great concept, mostly divorced from reality, with superb execution, just might extend forever.
  74. There are, in fact, too many plates. At worse, they induce vertigo, or prevent close inspection for logical consistency (and there is some). But at its best, they promise something unique, even smart.
  75. 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.
  76. The Bridge is highly absorbing.
  77. At least the opener indicates this remains an intelligent series in search of complex answers to complicated questions.
  78. This is a gentle, good-hearted series and Scott was pretty much born to play Precious. But LDA can also be willfully, stubbornly languid.
    • 74 Metascore
    • 83 Critic Score
    With a visual sensibility that mimics a video game, Web browser and iPhone, as well as a hearty online presence with a social-networking bent, the new Electric Company seems to deliver.
  79. The premiere hour balances perspectives pretty well--no loopy hippies, no redneck cops, no (apparently) cutthroat gangsters.
  80. One thing you can say for USA: It knows what it's doing. It's got its shtick, and it's sticking to it.
  81. The new show is very violent, in bursts, in between all the poetry and music. I don't know why, but violence bothers me less when its mixed with lyrical scripts like in "A Man Called Hawk." It's like Shakespeare on TV. ... Any script becomes Shakespeare when Brooks gets his vocal cords around it; pearly words float out of the TV. [27 Jan 1989]
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  82. Corden clearly appears to have the goods.... Most importantly, he has an obvious ability to perform bits that'll hold up in the cold light of dawn, or more specifically on the Internet.
    • 63 Metascore
    • 80 Critic Score
    He's sincere; he rings true. And that is why, in the wasteland of reality and makeover shows, Gunn shines.
  83. Like a series of one-act two-handers--stage plays where just a pair of actors face off--this sneaky little gem steadily strips away its therapy patients' emotional defenses and excuses, exposing the raw fears and paralyzing reactions beneath.
  84. We're talking major-league adult content here - from unblinking strip searches, to human branding, to brutal violence and language that the broadcast networks have never even thought about airing. But that's only an alert, not a warning, because this drama series from tube auteur Tom Fontana ("Homicide," "St. Elsewhere") packs a dramatic wallop as potent as its frankness. [11 July 1997, p.B47]
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  85. As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."
  86. "Dr. Katz" is a very funny show. [4 Dec 1995]
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  87. Originally a half-hour sitcom, redeveloped into a light hour, this latter-day "Northern Exposure" creates its own eccentric, cantankerous, sweet and silly world. Can this wacky enchantment last? [6 Oct 2000, p.B51]
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  88. A soul-deep sense of humanity grounds "Heroes."
  89. If all this sounds like "24" has been hijacked by public policy wonks or Shakespeare profs, don't worry. Your show very much remains your show.... It's just that your show got a little smarter.
  90. The show feels lived-in, making it all the more inviting to dwell there ourselves. [23 Sept 2003, p.B23]
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  91. Who'da thunk this one'd be so adorable? Cox gets to cook comedically in this smart souffli, with great support from von Esmarch and company. Big bonus: elaborate weekly production numbers spoofing Godzilla, the penitentiary and, of course, the French Revolution. Love those decapitated dancers! [6 Oct 2000, p.B51]
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  92. We aren't just viewing this "Real World" from an objective point of view - watching people behave - but participating in a fresh way. Sorting through all those first-hand viewpoints, we're coming to understand where these diverse people are coming from and why they act the way they do. [19 May 1992]
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  93. A nice balance of 60-40 character drama and medicine. "Homicide" heavyweight Braugher is intense once again, yet smart enough to keep sharing the screen with a strong ensemble. [10 Oct 2000]
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  94. The characters are vibrantly well-defined... And the writing is smart, with a light touch.
  95. Nip/Tuck is all about appearances, but it also has something to say. [21 June 2004, p.C01]
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