Newsday's Scores

  • TV
For 1,365 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 The Wire: Season 4
Lowest review score: 0 Murphy's Law (1988): Season 1
Score distribution:
  1. Mixed: 0 out of 896
  2. Negative: 0 out of 896
896 tv reviews
  1. "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.
  2. 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.
  3. [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.
  4. Skies fans should be pleased.
  5. Another Discovery/BBC beauty, but short on answering obvious questions.
  6. 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?
  7. 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.
  8. 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.
  9. It's "Reno 911!" with bloody bite.
  10. 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.
  11. Just as people either drink or don't, you'll get it or you won't.
  12. A competently made soap with some good actors and nicely staged musical numbers.
  13. Grimm has real promise if NBC has real patience.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. Richly documented, but tends to become long-winded--or just plain winded--by the end.
  21. The story has been told many times before, and is told competently--if not always with dazzling or unexpected insight--again Wednesday.
  22. 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.
  23. Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.
  24. Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.
  25. An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.
  26. Mr. Dynamite instead works best as musical biography, only fitfully as a comprehensive one.
  27. Extremely raunchy, and often quite funny.
  28. 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.
  29. 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."
  30. 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.
  31. Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?
  32. Hardly a treasure, but a lively island of adventure.
  33. 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.
  34. A well-rounded, nicely mature comedy.
  35. While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
  36. Rest easy. Scrubs is just fine (with all cast members, except Jenkins, back), though the opening episode is superior to the follow-up.
  37. 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.
  38. 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.
  39. Inexorably transfixing, whether you're taking names or taking notes.
  40. Solid star turn, eerie production values, even a killer ending.
  41. 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."
  42. As genre satire, Spoils is amusing. As film study, it's informative. As a viewing experience? Uneven: Sometimes funny, a little more often not.
  43. It does well what standard sitcoms do.
  44. The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.
  45. Competent soap, and the new season is frothier than ever.
  46. Proceed with caution into this foul but funny cauldron of catastrophe.
  47. 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.
  48. 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!
  49. Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.
  50. 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.
  51. 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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  52. 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.
  53. A not-bad techno-thriller that could go interesting places.
  54. An amusing and not-bad game show; Bailey makes it bearable.
  55. For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
  56. Crazy Obsession gives us benign compulsives who mainly come off as amusing.
  57. 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).
  58. Noble intentions meet nice people.
  59. 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.
  60. Impastor weakens its good work by trying a bit too hard.
  61. 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.
  62. 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.
  63. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  64. 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."
  65. This is pure kiddie fare; no big deal--Chuck's back; TV's a better place.
  66. A baffling, beautiful, maddening, provocative puzzle.
  67. This intelligent, sensitive portrait effectively explores a lost childhood and remarkable mind. It's engrossing to a point, then tiresome.
  68. Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
  69. The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
  70. Gritty, jarring, profane and smartly produced.
  71. A partially successful reboot, with less music, more story.
  72. 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.
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  73. Still absorbing. Still painful.
  74. Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
  75. 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.
  76. 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).
  77. 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.
  78. Lively pilot, with plenty of pop--but you've seen it all before.
  79. 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.
  80. Monday's pilot can't quite close the sale, but there's promise here. The Chicago Code deserves another look.
  81. Gravity looks like another slow build. Its characters aren't as directly defined, and initial episodes exhibit curious methods to its storytelling madness.
  82. A well-produced film that is ultimately more painful than conclusive.
  83. 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.
  84. Kings is a worthy enterprise that will deeply puzzle millions of viewers.
  85. 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.
  86. 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.
  87. Tere's real promise in Parenthood. In time, we may all genuinely care whether Crosby and Sarah find themselves, or at least grow up.
  88. 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.
  89. You may hate yourself for laughing--just don't be too surprised if and when you do.
  90. Surprise! Crusoe's good, and by "good" I mean competently produced and acted.
  91. 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.
  92. Dogs is a perfectly pleasant show based on the perfectly reasonable proposition that dogs are people, too.
  93. 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.
  94. 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.
  95. 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.
  96. There's plenty of heart here--and some very sharp writing and acting, too.
  97. 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.

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