Newsday's Scores

  • TV
For 1,251 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 United States of Tara: Season 3
Lowest review score: 0 Zombie Apocalypse: Season 1
Score distribution:
  1. Mixed: 0 out of 812
  2. Negative: 0 out of 812
812 tv reviews
  1. Executive producer Frank Darabont ("The Shawshank Redemption") is wonderfully skilled at framing shots to achieve maximum horror effect. But the middle stretch tends to bog down. My advice--watch the first 25 minutes (they're really good), then go trick-or-treating.
  2. Being Human echoes, move for move, the BBC America fave of the same name. Yet, Syfy simplifies the tone into young-adult novelhood, where there's lots of white space around really big print. Subsequent episodes improve as plots thicken.
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  3. Information tumbles off the screen and often flat onto the floor. Too bad, because much of what's here is very funny, if occasionally cruel.
  4. Monday's pilot can't quite close the sale, but there's promise here. The Chicago Code deserves another look.
  5. Producers clearly encourage some to-the-camera carping, but the overriding emotional tone is one of bonding and growth. And respect. In a reality competition!
  6. Knox is neither absolved nor condemned, and you'll end up with more questions that you began with. But pay close attention: There are many telling little details throughout.
  7. The problem with Jackie is that split personality--drama or comedy. What's funny here is funny, like last season's final seconds. There aren't enough moments that remind you when to laugh.
  8. Rule-breaking law enforcers! Wherever have we seen this before? But it sure works Friday, seasoned with devil-may-care brio from a cool cast.
  9. The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.
  10. Another Discovery/BBC beauty, but short on answering obvious questions.
  11. While you're left to wonder why these four stars need a reality show, or why the contestants never truly made it in the first place, "The Voice" should remain a solid performer for NBC--which it so very badly needs.
    • 53 Metascore
    • 75 Critic Score
    It's an odd concept, but it works pretty well.
  12. Sometimes, you're not looking for great TV. Sometimes, you're looking for par-tay! And dudes paid "to mess with the zombie culture," while also acing the case, surely fits the bill.
  13. This intelligent, sensitive portrait effectively explores a lost childhood and remarkable mind. It's engrossing to a point, then tiresome.
  14. Super set-up seems to punch every teen ticket there is, with plenty to admit adults, too. Future execution will be key--in more ways than nine.
  15. It feels fresh and amusing. "True Blood" did a similar fast-forward, and both have benefited.
  16. For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
  17. The Closer may be the most comfortable old shoe on all of television; slip it on and be assured of no blisters. In fact, the cast (and not just Sedgwick) is so competent, the characters' tics so familiar; and the format and formula so firmly etched in "ceeement" (as Brenda might say) that it all feels almost too comfy.
  18. While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
  19. Inexorably transfixing, whether you're taking names or taking notes.
  20. A quick summary makes it sound schlocky, but William & Catherine is pretty slick schlock.
  21. In blunt and at times salty language, Bush gets to say exactly what 9/11 meant to him; it's visceral but only occasionally revelatory. We all know this story very well. Maybe too well.
  22. A well-rounded, nicely mature comedy.
  23. A competently made soap with some good actors and nicely staged musical numbers.
  24. The X Factor is a hugely entertaining endeavor full of malarkey, good performances (and bad), and enough momentum to keep you engaged from the first overblown second to the last.
  25. The opener is marred by a conventional plot. The producers--who include Steven Spielberg--show almost complete indifference to science (or sci-fi). That said, TV's most ambitious new series has some promise.
  26. Amusing to watch, but not particularly scary. "Creepy" seems the better word.
  27. Richly documented, but tends to become long-winded--or just plain winded--by the end.
  28. Hoggers is more down-market than Beers' crab fishermen and ice road truckers.
  29. Grimm has real promise if NBC has real patience.
  30. Noble intentions meet nice people.
  31. An amusing and not-bad game show; Bailey makes it bearable.
  32. Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.
  33. 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.
  34. Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
  35. You may hate yourself for laughing--just don't be too surprised if and when you do.
  36. First impression of the third season is a good one.
  37. Hardly a treasure, but a lively island of adventure.
  38. Dogs is a perfectly pleasant show based on the perfectly reasonable proposition that dogs are people, too.
  39. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  40. Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.
  41. Skies fans should be pleased.
  42. It does well what standard sitcoms do.
  43. There's plenty of heart here--and some very sharp writing and acting, too.
  44. Bible Challenge tries to cover all bases in America's complicated Christian field.
  45. 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.
  46. 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.
  47. 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.
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  48. There are real pleasures with "The Hour," but the hour (actually, about an hour and 15 minutes Wednesday night) ticks by far too slowly.
  49. Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.
  50. 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.
  51. Extremely raunchy, and often quite funny.
  52. A partially successful reboot, with less music, more story.
  53. A not-bad techno-thriller that could go interesting places.
  54. 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.
  55. Not a lot new here, but Cheney gets a fair hearing--even though a tougher one is occasionally warranted.
  56. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  57. 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.
  58. Just as people either drink or don't, you'll get it or you won't.
  59. A well-produced film that is ultimately more painful than conclusive.
  60. 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.
  61. 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.
  62. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  63. 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.
  64. 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).
  65. 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.
  66. All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.
  67. Lively pilot, with plenty of pop--but you've seen it all before.
  68. A little long-winded in some stretches, not detailed enough in others but Holmes fans--and fans of cop procedurals--should like this.
  69. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  70. 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.
  71. Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
  72. If not all things to all people, this Oscar salute should be enough for most.
  73. Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.
  74. Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.
  75. 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.
  76. The show can be messy and confusing--a headlong rush to who-knows- where-or-why at times. But those clones keep it grounded.
  77. 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).
  78. Is there anything great here? No. Is it goofy fun? Yes.
  79. An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.
  80. 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.
  81. Good, cleanly told newcomer that can be a bit pokey.
  82. As episodes unfold, the relationships resonate, and the characters run deeper.
  83. 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.
  84. A baffling, beautiful, maddening, provocative puzzle.
  85. [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.
  86. The Lottery, with otherwise sage setup and promising performances, merits its own shot at something great.
  87. No one wants this show to channel "24," but C-SPAN won't do either. For the most part, however, Madam Secretary charts a steady--and intelligent--middle course.
  88. Forever isn't betting the future on plot mechanics, however, but on chemistry and that obscure object of desire called "sex appeal." These leads have it--in spades.
  89. A very good-looking pilot. That leaves Gustin, which is where nagging doubts crop up.... Gustin's Allen is blue of eye and clear of conscience. Sweet and gentle, he's immensely likable but not particularly intriguing, unlike Stephen Amell's Oliver Queen or even Tom Welling's Clark Kent.
  90. Solid star turn, eerie production values, even a killer ending.
  91. It's one tasty piece of lunacy.

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