Newsday's Scores

  • TV
For 1,415 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 3.6 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 American Crime: Season 1
Lowest review score: 0 Partners (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 923
  2. Negative: 0 out of 923
923 tv reviews
    • 75 Metascore
    • 75 Critic Score
    By dint of smart casting, imaginative challenges and A-list guests, Top Chef retains its three stars for culinary entertainment.
  1. This is good bunk, fun bunk, energetic bunk. Much better bunk than the last volume.
  2. It feels fresh and amusing. "True Blood" did a similar fast-forward, and both have benefited.
  3. A stylish, intelligent production.
  4. 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.
  5. 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.
  6. Good show with fine cast, but it all still feels a little too familiar and old-fashioned.
  7. Scream is exactly what you'd expect. It may also be exactly what you want.
  8. If not all things to all people, this Oscar salute should be enough for most.
  9. Shore has written this adroitly enough and Winters and Duhamel are two good and seasoned actors who easily locate what's most endearing, or at least what's most amusing about their respective characters.
  10. The formula--must find murderer of beautiful woman before last commercial break--predates the dinosaurs, but also incorporates some satisfying twists.
  11. Bassett refuses to cast blame for the troubles, and we're left with a portrait that has plenty of love--just not a whole lot of insight or edge.
  12. Not a lot new here, but Cheney gets a fair hearing--even though a tougher one is occasionally warranted.
  13. 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.
  14. All this is to say, simply, that Passmore is an intriguing screen presence who holds a well-constructed if otherwise boilerplate cop show together.
  15. 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.
  16. 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.
  17. Fresh Off the Boat is charming, convivial, even--gasp--at times cute.
  18. A quick summary makes it sound schlocky, but William & Catherine is pretty slick schlock.
  19. "Johnny's" back to corrupt the locals, and if you liked last season, there's no apparent reason not to go along for this ride.
  20. 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.
  21. [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.
  22. Skies fans should be pleased.
  23. Another Discovery/BBC beauty, but short on answering obvious questions.
  24. There's some very funny stuff here, but the serious question before NBC is this: How long can it stretch the joke before viewers go stark raving mad?
  25. What's new here? Nothing, really. Jane is likable, Adams is, too, and so--believe it or not--is Hung. That's another problem. Hung needed to be scabrously funny. Instead, it's just middlebrow amusing.
  26. Admirers of the novel probably will be pleased. Average viewers who never read the novel (or any historic fiction) will be either confused or bored--possibly both.
  27. It's "Reno 911!" with bloody bite.
  28. Is there anything great here? No. Is it goofy fun? Yes.
    • 53 Metascore
    • 75 Critic Score
    It's an odd concept, but it works pretty well.
  29. Just as people either drink or don't, you'll get it or you won't.
  30. A competently made soap with some good actors and nicely staged musical numbers.
  31. Grimm has real promise if NBC has real patience.
  32. 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.
  33. At least in the first three episodes provided for review, what the Kesslers and Zelman don't seem to quite realize is how much of a narcotic this setting actually turns out to be. The story is also often languid to the point of stationary.
  34. It's almost a shrug of an opener, a bit diffident, a bit unfocused (not unlike Brett, in his less lucid moments). But Togetherness does gets better, and funnier.
  35. Liv is more goth than zomb, more punk than spunk. She's also as appealing as anyone who eats human brains for a living could possibly be. Her supporting cast is good, too.
  36. 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.
  37. Feels like a rebuilding year here. Veterans trying to hold their spots, rookies working to make the team. Whether a winning lineup coalesces remains to be seen.
  38. Richly documented, but tends to become long-winded--or just plain winded--by the end.
  39. The story has been told many times before, and is told competently--if not always with dazzling or unexpected insight--again Wednesday.
  40. 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.
  41. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  42. Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.
  43. An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.
  44. Mr. Dynamite instead works best as musical biography, only fitfully as a comprehensive one.
  45. Extremely raunchy, and often quite funny.
  46. What a hoot. What a ridiculous, soap-operatic cutup of a series. But if you can stop giggling long enough, as I managed to--quite a feat, let me tell you--Harper's Island is also hugely enjoyable.
  47. What's most intriguing here is deconstructing the process, when Stewart outlines the surprisingly demanding "skill set" needed by "Daily Show" correspondents (with supporting clips), when Colbert clarifies how their shows are only "curating the news" to the point of setting up "the joke you wish to tell."
  48. It's an upbeat, glass-half-full hour with some tough love from Tony, who also dispenses sound couples therapy advice. But the hour also feels facile, and rushed.
  49. Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?
  50. Hardly a treasure, but a lively island of adventure.
  51. This doesn't pretend to be a deep show, but it's a pleasant diversion with a good cast, and really good (read: expensive) production values.
  52. The show could go interesting places, too, even explore provocative ideas--although the pilot pokes at those only halfheartedly. Limitless instead sets up as just another buddy cop show, with a superhero component and a sinister subplot. Those potentially interesting ideas are kicked to the curb.
  53. A well-rounded, nicely mature comedy.
  54. While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
  55. Rest easy. Scrubs is just fine (with all cast members, except Jenkins, back), though the opening episode is superior to the follow-up.
  56. This remains an intelligent, well-made drama that wants to get most of the history right, or at least not adulterate it too much.... But, alas, same virtues, same flaws.
  57. 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.
  58. Inexorably transfixing, whether you're taking names or taking notes.
  59. Solid star turn, eerie production values, even a killer ending.
  60. Absent the overworked conceit of actors glancing at the camera to register annoyance or irony, this has turned into just another well-produced cop show with some excellent actors, like Imperioli or James McDaniel, who plays Det. Jesse Long and played Lt. Arthur Fancy on "NYPD Blue."
  61. As genre satire, Spoils is amusing. As film study, it's informative. As a viewing experience? Uneven: Sometimes funny, a little more often not.
  62. It does well what standard sitcoms do.
  63. The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.
  64. Competent soap, and the new season is frothier than ever.
  65. Proceed with caution into this foul but funny cauldron of catastrophe.
  66. 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.
  67. 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!
  68. Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.
  69. Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.
  70. 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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  71. Overall, this was a good start.... The show was rushed, the commercialism troubling, the interviews a mixed bag. But no one looks for perfection the first night--just signs, and they were mostly positive Tuesday.
  72. Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.
    • 64 Metascore
    • 75 Critic Score
    Overall, a meaner, harsher fashion competition, but compelling.
  73. A not-bad techno-thriller that could go interesting places.
  74. An amusing and not-bad game show; Bailey makes it bearable.
  75. For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
  76. Crazy Obsession gives us benign compulsives who mainly come off as amusing.
  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. Noble intentions meet nice people.
  79. 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.
  80. Impastor weakens its good work by trying a bit too hard.
  81. The best parts of Show Me a Hero are the sharply drawn mini-portraits of people who will ultimately move into the new public housing. Spread throughout the first five hours, you hope you will find a hero there, but in vain. They're just normal people looking for a better life, and ultimately find one.
  82. 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.
  83. 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.
  84. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  85. I wanted to love Fringe, with its extraordinary pedigree and exotic, soulful Australian beauty Torv in the lead role, and splendid Noble in key support. Plus, Blair Brown's here, too, as a top exec at an evil corporation. But I just can't shake this word "derivative."
  86. This is pure kiddie fare; no big deal--Chuck's back; TV's a better place.
  87. A baffling, beautiful, maddening, provocative puzzle.
  88. This intelligent, sensitive portrait effectively explores a lost childhood and remarkable mind. It's engrossing to a point, then tiresome.
  89. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  90. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  91. Gritty, jarring, profane and smartly produced.
  92. A partially successful reboot, with less music, more story.
  93. Suffice it to say, keep the kids away, but you will laugh - and feel guilty about it afterward.
    • 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.
    • Newsday
  94. Still absorbing. Still painful.
  95. Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
  96. 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.

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