Newsday's Scores

  • TV
For 1,130 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 My Own Worst Enemy: Season 1
Lowest review score: 0 Momma's Boys: Season 1
Score distribution:
  1. Mixed: 0 out of 740
  2. Negative: 0 out of 740
740 tv reviews
  1. 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.
  2. There are real pleasures with "The Hour," but the hour (actually, about an hour and 15 minutes Wednesday night) ticks by far too slowly.
  3. Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.
  4. 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.
  5. Extremely raunchy, and often quite funny.
  6. A partially successful reboot, with less music, more story.
  7. A not-bad techno-thriller that could go interesting places.
  8. 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.
  9. Not a lot new here, but Cheney gets a fair hearing--even though a tougher one is occasionally warranted.
  10. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  11. 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.
  12. Just as people either drink or don't, you'll get it or you won't.
  13. A well-produced film that is ultimately more painful than conclusive.
  14. 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.
  15. 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.
  16. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  17. 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.
  18. 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).
  19. 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.
  20. All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.
  21. Lively pilot, with plenty of pop--but you've seen it all before.
  22. A little long-winded in some stretches, not detailed enough in others but Holmes fans--and fans of cop procedurals--should like this.
  23. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  24. 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.
  25. Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
  26. If not all things to all people, this Oscar salute should be enough for most.
  27. Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.
  28. Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.
  29. 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.
  30. It's one tasty piece of lunacy.
  31. It's a romp and a half.
  32. Could... become a very pleasant surprise.
  33. Anyone who wants to take a walk on the wild side and lose an appetite in the process, your show has arrived.
  34. Congenial.
  35. An effective and well-wrought drama, with enough cinematic flair and energy to paper over some of its more obvious faults.
  36. 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.
  37. "Crumbs" is surprisingly good.
  38. 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.
  39. 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.
  40. Far and away the best new pilot on NBC this season.
  41. The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.
  42. There's warmth and wit there, along with not a little magic.
  43. A show that is so achingly familiar - in content, tone, stars, everything - that it's actually funny.
  44. 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.
  45. There's enough human drama here to keep us occupied without having the walls fall down, too.
  46. 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.
  47. 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.
  48. "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.
  49. The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.
  50. "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.
  51. 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.
  52. "Raines" is both thoroughly conventional and thoroughly unconventional; in fact, it often revels in its conventionality.
  53. A pretty nifty, if completely insane, suspense/conspiracy/ chase/road adventure.
  54. 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.
  55. The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.
  56. Ultimately, viewers just have to work a lot harder to fathom John from Cincinnati than Tony from Jersey.
  57. Disney's HSM2 delivers precisely what's required. And America is all ears.
  58. It's daring, disconcerting and/or enlightening.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. Smart. [23 Aug 1998, p.D10]
    • 61 Metascore
    • 70 Critic Score
    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]
    • 79 Metascore
    • 70 Critic Score
    I would say give them a chance. What else are you going to do for a half-hour after "Frasier"? [2 Oct 2001, p.B27]
  64. We're happy to see a multigenerational sitcom, and the pilot has some nice writing. But the effort feels somehow strained. Though stage veteran Byrne has charisma, he's hardly a sitcom natural. So maybe that's the point. A sitcom that doesn't behave like one. Hope springs eternal. [6 Oct 2000, p.B51]
  65. Many viewers will find its satire way over the line, but they're not the ones The WB is aiming for. [6 Oct 2000, p.B51]
  66. So far no amnesia bouts or cougar attacks. And no Kim! [9 Jan 2005]
  67. But what makes this show different is Jerry Stiller. George Costanza's father is now Doug Heffernan's father-in-law. And what a riot he is. [21 Sept 1998, p.B23]
  68. A sentimental new series whose flaws are fairly easy to forgive. [26 Sept 2003, p.B03]
  69. The important thing about "South Park" is not what it looks like or the way the characters talk, but what they say. It's a writer-driven vehicle, like most of the better twisted adult cartoons. [13 Aug 1997]
  70. Rick Berman and Brannon Braga have assembled an attractive cast and found a tone -colloquial, humorous, slyly sexy -that probably will make questions about the science in this fiction moot. [26 Sep 2001]
  71. As derivative as it is in many respects, "The Apprentice" could turn out to be one of the more interesting variations on the format. [4 Jan 2004]
  72. The opening episode sometimes feels like a "Mad TV" sketch that's going on too long, and that doesn't bode well for the long haul. But that's not to say there's not plenty to laugh at - and even admire - in Wednesday's deadpan debut. [20 Jul 2003]
  73. "Without a Trace" is about the work, about the puzzle. If you want the untidy cop stuff, stick with "NYPD Blue." [26 Sep 2002]
  74. It's all a bit much in Monday's opener, and yet I suspect that, like the $400 shirts and luxury ride of Dennis Farina's "Law & Order" character, which initially came across as contrast run amok, Deputy Chief Johnson's contrived personality excesses will fade with time. And what will be left is a compelling character in a solid show - not a tradition-buster like FX's "The Shield" but probably a broader-based hit. [12 Jun 2005]
  75. It's not insulting to the intelligence. The first episode is promising and mildly, if not wildly, amusing. What it has going for it more than the laugh track is good writing and performances. [21 Sep 1995]
  76. Lacks the hard, uncomfortable edges of [FX's also premiering] "Starved," but it's clear this show wants and intends to do a little damage, too. [4 Aug 2005]
  77. Even for sitcoms, "Sunny" is often a vile, twisted beast that crosses the line of acceptable taste. But it can also be highly amusing, and the addition of DeVito and Archer does nothing to diminish that. [29 Jun 2006]
  78. We expect sharp writing from Caron. "Medium" is almost too glib at times. What makes the suspension of disbelief easy is the casting. [3 Jan 2005]
  79. For all its redundancy, however, the latest "CSI" is stronger than "Miami" and could eventually rival the original. Credit the two primary stars, Sinise and the city. [22 Sep 2004]
    • 74 Metascore
    • 70 Critic Score
    Opens promisingly with a storyline that sets up a compelling premise for a serial adventure ... [but] is so visually arresting that the humanoid characters are upstaged. [14 Mar 1999]
  80. "Just Shoot Me" is Moliere compared to "Suddenly Susan" and producer Brillstein-Grey's other hit, "The Naked Truth." The writing is sharper, the targets in the worlds of fashion, journalism and TV news are hit more frequently, and it is funnier. [10 Mar 1997]
  81. Heretofore, I have never thought of Candice Bergen as a major comedienne like Andrea Martin or Catherine O'Hara. But I like her as Murphy Brown. She has the addictive personality of the character she plays, and can grow on you. [14 Nov 1988]
  82. Some of the sketches... have a surprising depth and richness. [5 Oct 1992]
    • 79 Metascore
    • 70 Critic Score
    The material is high in laugh content, but sometimes the handy wonders of animation tempt the makers of "Dr. Katz" to illustrate jokes unnecessarily. [28 May 1995]
  83. My fear is that the show may be too Alaska. TV is not ready yet for Nanook of the North, even if he has a New York accent. [10 July 1990, p.9]
  84. Underwood, in the role of Maria, didn't entirely succeed--acting is part of the bargain, after all. But NBC's live version of Richard Rodgers' and Oscar Hammerstein's beloved musical, staged at Grumman Studios in Bethpage, largely did.
    • 80 Metascore
    • 70 Critic Score
    Dream On is almost there. It still needs some work, though. [6 July 1990, p.43]
  85. Just about everything worked, and worked well, from the opening credits to the final ones. The energy and beauty of New York City was incorporated in a way that exceeded even my expectations--happily exceeded them. Meanwhile, The host: A bit nervous, understandably, he nonetheless reminded fans and people who have never heard of him why he's here.
  86. Garcia is a major-league cutie and sunny on-screen presence without being cloying. But enough with the filthy-rich-kid dramedies!
  87. Hilarious implausibility, overheated dialogue and enough soap to do several loads of laundry are part of its appeal.
  88. Tonight's premiere may seem like ridiculous twaddle, and it may feel like a major downer (and kinda sloooow), too, but maybe that's just Bruckheimer playing with our heads. In fact, Hour deserves a second look (next week is definitely better).
  89. Interesting detours, and a worthy show--but at times just a smidgen too self-righteous and melodramatic.
  90. I do know something about TV shows, and this one works best when Anne Slowey is on camera (which is not nearly enough) and the program focuses on clothing - that great, exasperating, endlessly complicated art form known as "fashion."
  91. Michael is a clinically interesting personality type who is profoundly unempathetic, until such times as he is very empathetic. The wonderful creative trick of The Office is knowing exactly the right moment to humanize Michael.