Newsday's Scores

  • TV
For 1,201 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% 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 The Strain: Season 1
Lowest review score: 0 Woops!: Season 1
Score distribution:
  1. Mixed: 0 out of 779
  2. Negative: 0 out of 779
779 tv reviews
  1. Richly documented, but tends to become long-winded--or just plain winded--by the end.
  2. Hoggers is more down-market than Beers' crab fishermen and ice road truckers.
  3. Grimm has real promise if NBC has real patience.
  4. Noble intentions meet nice people.
  5. An amusing and not-bad game show; Bailey makes it bearable.
  6. Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.
  7. Odd...make that very odd, and not for all tastes--probably very few. But there are some funny bits.
    • 55 Metascore
    • 75 Critic Score
    If you can see the forest through the trees, it's good, wearable fashion that's the real "fashion star" on this show, and it gives viewers an unusual glimpse into the world of retail despite all the superfluous hoopla.
  8. Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
  9. You may hate yourself for laughing--just don't be too surprised if and when you do.
  10. First impression of the third season is a good one.
  11. Hardly a treasure, but a lively island of adventure.
  12. Dogs is a perfectly pleasant show based on the perfectly reasonable proposition that dogs are people, too.
  13. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  14. Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.
  15. Skies fans should be pleased.
  16. It does well what standard sitcoms do.
  17. There's plenty of heart here--and some very sharp writing and acting, too.
  18. Bible Challenge tries to cover all bases in America's complicated Christian field.
  19. Sure, the plot's ridiculous, but the film's mostly fun, while the pleasure of watching Burstyn play a homicidal wacko is not to be denied anyone.
  20. No, it's not exactly "House." But it isn't like any other show, either, with its mad mix of moral dilemmas, medical crises, family ties, double-life-living and, y'know, rubouts 'n' stuff.
  21. Two things are going for this latest adaptation--solid production values and a talented lead actor.
    • 77 Metascore
    • 75 Critic Score
    Though they certainly cover the heady early days, filled with screaming girls and their cultivated persona as the anti-Beatles, Mick Jagger and Keith Richards aren't afraid to keep it real. Both show some interesting insights into their success.
  22. There are real pleasures with "The Hour," but the hour (actually, about an hour and 15 minutes Wednesday night) ticks by far too slowly.
  23. Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.
  24. Heights almost feels like atonement for the biggest hit in MTV history. The kids don't swear (much), esteem their elders, work at their dreams and have no obvious or debilitating vices--until they drink.
  25. Extremely raunchy, and often quite funny.
  26. A partially successful reboot, with less music, more story.
  27. A not-bad techno-thriller that could go interesting places.
  28. Vikings quickly settles into a fairly routine sword-and-sandal epic narrative that revolves around a sociopath overlord and the subjects who dare to challenge his authority. But it gets better.
  29. Not a lot new here, but Cheney gets a fair hearing--even though a tougher one is occasionally warranted.
  30. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  31. It could easily be mean and cynical, but manages to avoid both fatal pitfalls because the finalists are so genuinely enthusiastic and so blissfully uncomprehending of their shortcomings.
  32. Just as people either drink or don't, you'll get it or you won't.
  33. A well-produced film that is ultimately more painful than conclusive.
  34. The Writers' Room winds up more anecdotal than explanatory. Heavily edited/compressed, it makes for a breezy half-hour if not necessarily revelatory disclosure, at least in the three episodes sent for review.
  35. The pilot's envelope-pushing is caustic and obvious, two things Mom seems better than. Faris is both gutsy and touching as the adult trying to get her act together, while Janney's crafty adolescence extends to a third generation around Faris' two kids.
  36. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  37. The starter hour picks up steam whenever loose-cannon Amick bops around--although Ormond does a nice job of grounding its shenanigans in a semblance of reality.
  38. From "The Mod Squad" to "Being Human," TV's young misfits find it [family] where they can, and Tomorrow is that next step, too. Scripter Phil Klemmer wrote for "Chuck" and "Veronica Mars," good arguments for promise here (and "Undercovers," a bad one).
  39. Filmed in New Orleans, Coven wants to soak up some atmosphere, bowdlerize some local history and otherwise creep out viewers. At least on these three points, this season should easily score.
  40. All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.
  41. Lively pilot, with plenty of pop--but you've seen it all before.
  42. A little long-winded in some stretches, not detailed enough in others but Holmes fans--and fans of cop procedurals--should like this.
  43. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  44. The early part of the third may not be as good as the first season or stretches of the second, but for a few million anxiously awaiting Sunday, it's still good enough.
  45. Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
  46. If not all things to all people, this Oscar salute should be enough for most.
  47. Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.
  48. Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.
  49. Yes, this is all very familiar--Sundance's "The Returned" was better, by the way--but there are still solid hints of an engaging series.
  50. The show can be messy and confusing--a headlong rush to who-knows- where-or-why at times. But those clones keep it grounded.
  51. The pair has recast the concept and their chemistry into a suburban setting that feels fresher and friendlier, truly finding its footing at 10:30 with Sloane (and those gnomes).
  52. Is there anything great here? No. Is it goofy fun? Yes.
  53. An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.
  54. The opening episode--already posted online--is a bit sluggish, but Power gets better in subsequent episodes. Starz, and Fitty, appear to have a winner.
  55. Good, cleanly told newcomer that can be a bit pokey.
  56. As episodes unfold, the relationships resonate, and the characters run deeper.
  57. The pilot is itself uneven, with the go-for-bonkers impudence of a live-action "Family Guy." But without it, Mystery Girls might be just another ABC Family-com for viewers who have aged out of Disney Channel and silly situations with sentimental topping for studio audience uproar.
  58. A baffling, beautiful, maddening, provocative puzzle.
  59. [The Canadian comedy all-stars] give it good vibes. But the scripts, despite mad moments of whimsy, can't keep pace with the cast's comic timing and tone.
  60. The Lottery, with otherwise sage setup and promising performances, merits its own shot at something great.
  61. It's one tasty piece of lunacy.
  62. It's a romp and a half.
  63. Could... become a very pleasant surprise.
  64. Anyone who wants to take a walk on the wild side and lose an appetite in the process, your show has arrived.
  65. Congenial.
  66. An effective and well-wrought drama, with enough cinematic flair and energy to paper over some of its more obvious faults.
  67. Like many Lifetime productions, this one is designed to make you stand up and take action on a hot-button issue. Unlike many, it's got the dramatic chops to keep you on your feet applauding.
  68. "Crumbs" is surprisingly good.
  69. The best thing about "Free Ride" is the lack of pressure to be about something. Trusting its talented cast to embody their own truths, it ambles and weaves, leaving space for the characters, even folks briefly bumped into, to nail a specific attitude or situation.
  70. Yes, "The Loop's" a winner, although let us be the first to admit that the usual attributes associated with "winning" are probably stretched beyond all recognition in this context.
  71. Far and away the best new pilot on NBC this season.
  72. The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.
  73. There's warmth and wit there, along with not a little magic.
  74. A show that is so achingly familiar - in content, tone, stars, everything - that it's actually funny.
  75. Watch the first few minutes of "The Class" in its CBS sitcom debut tonight, and you may not believe me when I say this, but here goes. I think they might have something here.
  76. There's enough human drama here to keep us occupied without having the walls fall down, too.
  77. Yes, there have been some valid questions about TV's recent embrace of the serial. (Too many? Will people stay tuned?) "Kidnapped" feels so fresh that viewers won't even care.
  78. Good actors can get away with glib, and Woods is one of the best, persuasive enough to have you spotting freshness in the familiar and wisdom in cliches.
  79. "The Nine" may well be the best of the crop - smart, clever and especially wise to the ways of this genre - but the challenge remains the same. This is work - admittedly often pleasurable work, but come 10 p.m. next Wednesday, we've got to do it all over again.
  80. The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.
  81. "Sleeper Cell" is nicely acted, produced, written, directed, but is still so deeply rooted in the conventions of the medium, that no matter how hard it tries, or how hard it wants to be something else, this still ends up Just TV.
  82. The emotional reality is so true here that not only do they get away with an assortment of gags about condoms, massage parlors and other juvenile fixations, but they make them resonate endearingly.
  83. "Raines" is both thoroughly conventional and thoroughly unconventional; in fact, it often revels in its conventionality.
  84. A pretty nifty, if completely insane, suspense/conspiracy/ chase/road adventure.
  85. Don't believe the critics who tell you "Hidden Palms" stinks after they watched only the first episode.... This is a seriously involving serious show. A show about something.
  86. The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.
  87. Ultimately, viewers just have to work a lot harder to fathom John from Cincinnati than Tony from Jersey.
  88. Disney's HSM2 delivers precisely what's required. And America is all ears.
  89. It's daring, disconcerting and/or enlightening.
  90. Gossip Girl actually isn't bad by the standards of the medium--with "The Hills" pretty much being the standard--and it's even surprisingly competent.
  91. The pilot still is often clever and engaging, but confusing too.
    • 64 Metascore
    • 70 Critic Score
    Lewis is such a commanding presence that Sarah Shahi is rendered little more than an accessory as Dani. There's nothing going on between the partners at the outset, but this is subject to change.
    • 82 Metascore
    • 70 Critic Score
    This handsome, moodily shot movie liberates the play from the confines of the tiny apartment with almost too many scenes on the bus, in a bar and, most chilling, in the back room of a beauty shop where the neighborhood abortionist boils forceps.
  92. What Canterbury has powerfully going for it, besides the magnetic/vulnerable Margulies, is a cast surrounding her with equal strength, from principled second Ben Shenkman to Terry Kinney as their sneaky prosecutorial adversary, plus an array of effective guest stars from the rich East Coast acting pool.
  93. A breath of cold, bracing and - bless it - fresh air. Eisner's fable is dark, almost impenetrably so, though skillfully rendered. Best of all, nothing here has ever been performed on reality TV, the best I can tell.
    • 50 Metascore
    • 70 Critic Score
    In the world of reality shows, this well-produced series is better than most. Betwixt and between all the emotional upheavals and drama, Coffey, only slightly witchy, dishes out sound advice.
  94. Smart. [23 Aug 1998, p.D10]
  95. Series star Treat Williams ("Hair," "Prince of the City") is such a fine actor, with so much natural gravity, that he can transcend all but the hokiest writing. And as the opener develops, the writing actually starts to meet him halfway. [16 Sept 2002, p.B18]

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