Newsday's Scores

  • TV
For 1,328 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 3.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 The Singing Detective: Season 1
Lowest review score: 0 The Wedding Bells: Season 1
Score distribution:
  1. Mixed: 0 out of 869
  2. Negative: 0 out of 869
869 tv reviews
  1. 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.
  2. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  3. Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.
  4. An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.
  5. Mr. Dynamite instead works best as musical biography, only fitfully as a comprehensive one.
  6. Extremely raunchy, and often quite funny.
  7. 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.
  8. 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."
  9. 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.
  10. Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?
  11. Hardly a treasure, but a lively island of adventure.
  12. 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.
  13. A well-rounded, nicely mature comedy.
  14. While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
  15. Rest easy. Scrubs is just fine (with all cast members, except Jenkins, back), though the opening episode is superior to the follow-up.
  16. 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.
  17. 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.
  18. Inexorably transfixing, whether you're taking names or taking notes.
  19. Solid star turn, eerie production values, even a killer ending.
  20. 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."
  21. It does well what standard sitcoms do.
  22. The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.
  23. Competent soap, and the new season is frothier than ever.
  24. Proceed with caution into this foul but funny cauldron of catastrophe.
  25. 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.
  26. 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!
  27. Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.
  28. 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.
  29. 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.
    • Newsday
  30. 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.
  31. A not-bad techno-thriller that could go interesting places.
  32. An amusing and not-bad game show; Bailey makes it bearable.
  33. For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
  34. Crazy Obsession gives us benign compulsives who mainly come off as amusing.
  35. 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).
  36. Noble intentions meet nice people.
  37. 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.
  38. 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.
  39. 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.
  40. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  41. 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."
  42. This is pure kiddie fare; no big deal--Chuck's back; TV's a better place.
  43. A baffling, beautiful, maddening, provocative puzzle.
  44. This intelligent, sensitive portrait effectively explores a lost childhood and remarkable mind. It's engrossing to a point, then tiresome.
  45. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  46. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  47. Gritty, jarring, profane and smartly produced.
  48. A partially successful reboot, with less music, more story.
  49. 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
  50. Still absorbing. Still painful.
  51. Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
  52. 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.
  53. 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).
  54. 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.
  55. Lively pilot, with plenty of pop--but you've seen it all before.
  56. 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.
  57. Monday's pilot can't quite close the sale, but there's promise here. The Chicago Code deserves another look.
  58. Gravity looks like another slow build. Its characters aren't as directly defined, and initial episodes exhibit curious methods to its storytelling madness.
  59. A well-produced film that is ultimately more painful than conclusive.
  60. 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.
  61. Kings is a worthy enterprise that will deeply puzzle millions of viewers.
  62. 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.
  63. 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.
  64. Tere's real promise in Parenthood. In time, we may all genuinely care whether Crosby and Sarah find themselves, or at least grow up.
  65. Sontag, simply put, was a very interesting person, who fully inhabited some interesting times--which this film captures. But as to that genuine, lasting impact? Who knows: Regarding is so busy trying to capture this busy life, that it never gets around to an answer.
  66. You may hate yourself for laughing--just don't be too surprised if and when you do.
  67. Surprise! Crusoe's good, and by "good" I mean competently produced and acted.
  68. 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.
  69. Dogs is a perfectly pleasant show based on the perfectly reasonable proposition that dogs are people, too.
  70. 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.
  71. 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.
  72. 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.
  73. There's plenty of heart here--and some very sharp writing and acting, too.
  74. 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.
  75. The show can be messy and confusing--a headlong rush to who-knows- where-or-why at times. But those clones keep it grounded.
  76. Good, cleanly told newcomer that can be a bit pokey.
  77. Often profane and occasionally offensive, Louie won't be to every viewer's taste, but it's a more interesting show than many with a definitive point of view.
  78. Intelligent adaptation absent the dark humor, satire--or horror--of the original.
  79. The formula's a little too familiar, the pilot a tad dull. But Michalka's a big talent and for that reason, Hellcats has potential.
  80. The Girl is getting older, but there's still pleasure to be had on the final lap.
  81. All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.
  82. Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
  83. 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.
  84. Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.
    • 54 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.
  85. So, what about the human intrigue of partner interaction, coordination and strategizing? That gets a bit of short shrift in favor of more blood (leaking hydraulic fluid) and guts (flying sparks and parts).
  86. Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.
  87. As indictments go, Going Clear is relentless and effective. But fair and balanced? That's another question--or maybe that's an issue.
  88. As episodes unfold, the relationships resonate, and the characters run deeper.
  89. Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.
  90. The Lottery, with otherwise sage setup and promising performances, merits its own shot at something great.
  91. So far no amnesia bouts or cougar attacks. And no Kim! [9 Jan 2005]
    • Newsday
  92. "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]
    • Newsday
  93. There's warmth and wit there, along with not a little magic.
  94. 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.
    • 78 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]
    • Newsday
  95. 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.

Top Trailers