Newsday's Scores

  • TV
For 1,617 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 3.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Glory Hounds
Lowest review score: 0 Partners (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 1070
  2. Negative: 0 out of 1070
1070 tv reviews
    • 80 Metascore
    • 91 Critic Score
    If you loved it before, you'll love it again. "Auf"-ully good.
  1. All the Way gets a couple of electrifying performances that catalyze the drama--not to mention the forward momentum of history. They’re brief, but they do the job. ... Magnificent, often stirring performance by Cranston that no one else comes close to matching.
  2. Producer Beers' team is the gold standard in male-aimed reality, and these guys have grit to burn.
  3. We ultimately get to spend time with Henson's judges hashing it out. That brings insight into what makes things work, into creature logic, proportions, movement, performance facilitation, and letting the creation "emote through its environment." We don't just watch art being made, we come to understand the process.
  4. There’s some temporizing in the first couple of episodes, but not enough to subvert what this third season so clearly is--another winner.
  5. The soul of the show, though, is its conflicted "heroes," truly tortured, in palpable ways, recalling the best, early days of NBC's ill-fated Monday comic book. There's no cartoonery here. Just adult adventure and angst.
  6. This show was always best when handling the little things that aim to capture life, and often do.
  7. They honor the job without trivializing it, or turning it into melodramatic entertainment pap for the masses.
  8. Extremely funny and extremely raunchy (consider yourself warned), but Dunham's a major talent.
  9. The usual C.K. show--fresh, funny, smart, bleak, offensive, entertaining--with one minor demerit, for an overlong finish.
  10. Foremost, getting Brody off-screen turns out to be an inspired move. In his absence, there's a new world order, or disorder, with a lot of people left to assemble the pieces, including Saul, Carrie, and most of all, Dana.
  11. The show's crisp, witty dialogue is mostly egalitarian among the ages, and everyone's great at working the words.
  12. Smart new cop show that takes time to build, but will reward patience.
  13. Still funny and still not for everyone. Louie remains very much a taste that you either acquire--or don't.
  14. A bit melodramatic, a bit manipulative, Touch is still one of the best pilots of the 2011-12 season to date.
  15. This evocative hour doesn't lionize Steinem, but simply lays out what happened.
  16. No relaxing allowed with Boss. Sorry about that, and sorry for this series, which remains smart, absorbing and particularly well done.
  17. Lizzie Borden takes an ax to many assumptions--including the one that Lifetime movies aren't worth watching.
  18. It all adds up to one solid nail-biter, with a profusion of clever clues that seems to cast suspicion on everyone.
  19. With his 2000 show, HBO’s “Killing Them Softly,” as another baseline for the best of Chappelle’s TV standup, this one’s right up there, too--not quite its equal, but close.
  20. Smart newcomer with a pair of leads that turns The Americans into a likely winner.
  21. It's wonderful stuff, and we all seem to be on a voyage of discovery.
  22. Don't miss the pilot. It's the best new crime series of the year, whatever you call it, tabloid TV, exciting TV, real TV. [6 Jan 1989]
    • Newsday
  23. This playful hour gets under your skin with its quirky personality humor, at the same time it's spinning a pretty fair murder yarn. [12 July 2002, p.B51]
    • Newsday
  24. I've watched tonight's show, the pilot, three times already - and not because I'm searching for the clues that Affleck and Bailey have embedded in the film. I love hearing nerdy IRS agent Jim Prufrock's improbably forceful declaration of why he loathes tax cheats. I love the way the Push residents talk about their local "slow-dance bar" as if it were as commonplace as a KFC outlet. I'm curious why all the couples in Push make love every other night at precisely the same time. I admire the creative visual presentation, which rivals that of a good commercial or music video. [17 Sept 2002, p.B03]
    • Newsday
  25. This eccentric assemblage truly captures the distinct feel of Vegas-the night, the gallows humor of grisly work and the people who thrive on it. Sure, it's seedy, surreal and supremely specific. That's why we're hooked. [6 Oct 2000, p.B51]
    • Newsday
  26. I love the characters, the actors, the spell they weave, the way of telling a story. By the second episode, I didn't want them to solve the case so it would go on and on. Homicide: Life on the Street is another stroll down heartbreak alley. [31 Jan 1993, p.21]
    • Newsday
  27. This stuff is good. No, superb.
  28. It's just super, a triumph of programme-making that even Alistair Cooke himself with his famous British overstatement can't exaggerate. [28 Mar 1991]
    • Newsday
  29. Wonderful. ... It is a realistic drama, the sort of thing you might see occasionally on experimental "American Playhouses" on public TV. But nobody does realistic drama on commercial TV today. [1 May 1990]
    • Newsday

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