Newsday's Scores

  • TV
For 1,251 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 Louie: Season 4
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 812
  2. Negative: 0 out of 812
812 tv reviews
  1. This second season has been marvelous. Now it's absolutely brilliant. [27 Nov 1989]
    • Newsday
    • 99 Metascore
    • 100 Critic Score
    Probably the best comedy series on television. ... "The Larry Sanders Show" offers the sharpest of television's multitudinous media jokes while always remaining grounded as a comedy rooted in character. [16 Jul 1995]
    • Newsday
  2. The first case in this innovative series is terrific. [18 Sep 1995]
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  3. Taut, efficient and directed with a scalpel, Breaking Bad remains a marvel.
  4. Whether it's Brent's starry-eyed foppishness, Dawn's artistic daydreams or Gareth's organizational stiffness, these are characters we don't see on American TV. They're not accomplished, clever or distinctive. But they're so well-observed, and so subtly personified, that it's as if we're finding amusement in people we know. [21 Oct 2004]
    • Newsday
  5. If there were an Emmy for most great moments per hour, "The Wire" would deserve it. [17 Sep 2004]
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  6. A critic for this paper once declared "The Wire" "the greatest dramatic series ever produced for television" and as the fourth season gets under way Sunday night, there's no reason to quibble with that assessment.
  7. Watching the first couple of episodes once again I am marveling at how good the show really is. [16 Jan 2000]
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  8. Bigger, brassier and even more thrilling, Homeland has boosted the stakes.
  9. It's stunning for a TV mystery. It's actually mysterious. The mood, the characters, the surreal quality of how the story is told, are something different. It has a slow hypnotic movement, a style like a boxer in slo-mo. It hit me with tremendous energy and made me abandon despair at the state of TV mysteries. [5 Apr 1990]
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  10. A stunning, brilliant, terrifying launch to TV's best series.
  11. Be forewarned that opener is dense, quick- moving and largely absent the sort of explanatory dialogue that dramatic series typically use to ensure that we have our bearings. Even viewers who savored each installment of the original series may feel disoriented. Newcomers may feel as though they're watching a foreign-language film without subtitles. My advice is to videotape it, re-watch and have faith. The coherence quotient goes up by the hour, and patience will be rewarded. [30 May 2003]
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  12. 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]
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  13. "Galactica" is so beautifully designed, shot, edited and acted that you can practically smell and taste its emotional validity.
  14. Still TV's best--dive in while the water's warm.
  15. One of TV's best shows, comedy or drama, because this series often succeeds as both.
  16. Larry David is obnoxious in "Curb Your Enthusiasm" but very funny. Gervais' David is just obnoxious. ... It's the sort of comedy that only certain people can get, like the way dogs can hear sounds human can't. I'm ashamed to say, I couldn't take it more than one dinner hour. [19 Oct 2003]
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  17. Louie very much remains Louie in the best sense.
  18. Wallops don't get more walloping than the one that arrives at the end of the premiere of FX's adult cop show The Shield. Won't tell you what it is, and don't you dare read other reviews in case they blab it. This is one of those punch-in-the-stomach moments of TV you'll want to remember being stunned by. Although The Shield looks pretty dang good to that point - or pretty %@$#! good, as its characters would swear - the show suddenly becomes flat-out brilliant. [12 Mar 2002, p.B27]
    • Newsday
  19. True-blue fans will swoon. Everything they - you - love about this classic is laid out, banquet-like, Sunday night - the fashions, style, elegance, writing, characters, precision, beauty and most of all, the humor.
  20. It is even better - if that is possible, and it is. Take my word. We are talking true comedic masterpieces here. [20 Jun 1994]
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  21. Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.
  22. This indisputably is Amazon Prime's “Orange Is the New Black.” That--believe me--is praise enough.
  23. Showtime lets them take their time to spin serpentine story lines, gradually pulling us deep into one very sticky, scary web of intrigue.
  24. The complex impact of the crime--and of its investigation, news coverage and town reaction--is the real story here, laid out in the decidedly ordinary faces and raw silent spaces that British drama delivers so well.
  25. Character--as the old saying goes--is a long-standing habit, and their habits remain very much intact. The same could be could be said of Justified.
  26. Stunning, beautiful, hypnotic, engrossing, spectacular... That oughta do it here as well, except Frozen Planet unexpectedly adds another word: Unprecedented.
  27. Human beings live on the corner, and "The Corner" makes us care about them. [16 Apr 2000, p.D15]
    • Newsday
  28. Sunday and the next three episodes are superb while the rhythms and beats of the story are very nearly hypnotic. Nothing here feels wasteful or cheap.
  29. Still funny and still not for everyone. Louie remains very much a taste that you either acquire--or don't.
  30. If you loved last season, there's nothing so far to indicate you won't like the second just as much.
  31. Lean, laconic, precise and as carefully word-crafted as any series on TV, there's pretty much nothing here to suggest that the third season won't be as good as the second--or better.
  32. Good, crackling start that--as the old saying goes--changes everything and may even point to the end.
  33. This show--still TV's best--remains utterly true to itself.
  34. Man, is this a good show...Boomtown is so good, it single-handedly restores your faith in broadcast networks. They can compete with the "freedom" of premium cable. All it takes is creative smarts. And NBC's Boomtown has plenty of those. [27 Sept 2002, p.B02]
    • Newsday
  35. Better, richer, more compelling than season one.
  36. Nobody tries to be funny here, so they're more hysterical than the folks falling all over themselves elsewhere. They're simply hopeless specimens of spoiled humanity who haven't a clue how to operate in the real world. [2 Nov 2003, p.04]
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  37. L.D. is back, and - based on viewing the first three episodes - his genius remains intact. [7 Sep 2007]
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  38. Like "Mad Men," Wife has an obsessive attention to detail; it's a hurricane of detail, in the visual touches, legal patter and the actors' unspoken flourishes. Nothing seems extraneous or out of place. Also like "Men," this show cares as much about silence as words, or that which isn't said (also a form of eloquence).
  39. Despite occasionally expressing Simon's concerns about journalism too pedantically, The Wire continues to deserve its accolades as the most remarkable drama series in television history.
  40. TV's best (but do your homework before diving in).
  41. This show captures a distinct culture, and the people jockeying for places in it, trying to prove, mostly to themselves, that their lives have value. And so Friday Night Lights has more than almost any network show today. [5 Oct 2007, p.B33]
    • Newsday
  42. The most entertaining--and beautiful--new series on TV this fall.
  43. The fuss is justified. Sunday's return of the Steven Moffat and Mark Gatiss-created series is a triumphant one, and should easily establish Sherlock among TV's finest series.
  44. The show is sweet, gentle, sad around the edges. I really love it. [19 Sep 1991]
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  45. Mad Men is back and back in all the right ways--the humor, the writing, the period details, and best of all, the flawless attention to these characters and their cluttered interior worlds.
  46. Still excellent, still hard to love.
  47. But my ultimate test for any comedy is - what else? - "Does it make me laugh?" Arrested Development seldom does. Not loudly, anyway...It has neither the liberating audacity of HBO's "Curb Your Enthusiasm" nor the delirious, anything-for-a-laugh energy of NBC's "Scrubs," the two contemporary comedies that consistently crack me up. It's reminiscent of the taboo- breaking 1970s comedy serial "Soap," but drier, more deadpan, and with less endearing characters. Does it deserve a wider audience than it has gotten? Sure. But I can't imagine it becoming a mainstream hit for Fox like "The Simpsons" or "Malcolm in the Middle."
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  48. The writing is crisp, the performances nuanced and believable, the gradually quickening pace addictive. It's hard to imagine anyone who watches tonight's first episode not wanting to to see the second installment next week. [6 Nov 2001]
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  49. Burns and Ward pile on so much detail, alongside so much stunning footage, that by watching this whole spread--to borrow that famous and also well-rubbed line -- will be like arriving "where we started and know the place for the first time." Magnificent. Of course.
  50. Besides the fine acting, writing and an attention to period detail that borders on the obsessive, what makes this show so ambiguous and pleasantly iridescent is narrative tension
  51. A wildly funny family sitcom. ... I am in love with all of them after the first half hour. [5 Jan 2000]
    • Newsday
  52. Terrific start to the 6th.
  53. Quirky, funny, smart, wonderful acting, surprise cameos by cherished actors (Steve Harris, "The Practice"), and a one-two punch by Chandler and Britton that is unbeatable. What's not to love?
  54. It's a great show, the best new series of the year. It's so - dare I say it? - original. It catches you off guard. Basically, it's everything I'm always looking for in drama. It's beautifully written, authentic, without the plastic Los Angeles look. The acting is marvelous. It's funny in a darkly comedic way, involving as a soap opera, and quirky. I never quite know what's going to happen, even though the subject matter is by no means unprecedented for television. [10 Jan 1999, p.D35]
    • Newsday
  55. This is a spectacular new series, with some stunning performances--Pierce, Peters, Zahn, in particular--and gorgeous music.
  56. Mad Men, as ever, remains a solid and beautifully produced TV program. Best of all, this episode promises a compelling third season. Fans will find much to savor.
  57. This stuff is good. No, superb.
  58. Originally a half-hour sitcom, redeveloped into a light hour, this latter-day "Northern Exposure" creates its own eccentric, cantankerous, sweet and silly world. Can this wacky enchantment last? [6 Oct 2000, p.B51]
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  59. Felicity is the best drama of the year, a quality show of substance and intelligence, something worth watching. [28 Sept 1998, p.B23]
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  60. Extremely funny and extremely raunchy (consider yourself warned), but Dunham's a major talent.
  61. As with his earlier shows, "Hopkins 24/7" (2000) and "Hopkins" (2008), Wrong has structured these stories masterfully. Nothing seems wasted, nothing is superfluous. As a result, the hugely important work these people do is honored in every shot.
  62. Modern Family is good. Better than good. Really good. O'Neil--dry and wonderful as ever--and Vergara (considerably less dry) are a winning combination.
  63. The real pleasure of this series is watching them peel away the layers to this particular onion, often on long car drives across a vast, wet, undifferentiated Louisiana landscape.... The real problem with True Detective are those flash-forwards to the present day: Younger Cohle, at least, is interesting. The older version is gaseous and his maunderings often stop the show cold.
  64. From this, you will gain a keen understanding of what lies beneath those endless rows of markers at any military cemetery. This is an honest and often magnificent tribute to the 1st Marine Division.
  65. The most intriguing thing, actually, is that Lost may not even need the hoodoo voodoo. Abrams and script creator Damon Lindelof ("Crossing Jordan") have already set up a pretty compelling cross- section of earthlings as a study of simply human behavior. [19 Sept 2004, p.11]
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  66. Band of Brothers thus finds itself in a tricky no- man's land. It's too colloquial and too specific to be valuable in a larger historical sense, like the classic "World at War" series or any of the World War II documentaries that are a History Channel staple. Yet, it's too lacking in dramatic focal points to succeed fully as entertainment like "Private Ryan" or any of the dozens of World War II movies ("Battle Cry," "Battleground") that Hollywood turned out in the late 1940s and '50s. [7 Sept 2001, p.B02]
    • Newsday
    • 86 Metascore
    • 83 Critic Score
    Fun, wild start to the fourth season--and that's just Kalinda's story.
  67. An enthralling film.
  68. On top of the stars' subtlety and Fuller's verbal wit, Sonnenfeld's pilot direction ladles layers of flashy frosting--theatrical camera angles, emphatic zooms, intensified color and those heavyhanded moments when the narration can't quite straddle the sap line.
  69. Richly documented, but tends to become long-winded--or just plain winded--by the end.
  70. Funny, smart, entertaining, excellent acting and writing. What's not to like?
  71. Byrne is brilliant and--for the most part--so is this fine and absorbing show.
  72. The film's essential weirdness felt real. The TV series' weirdness is more often just comical (or disgusting. One word: Spiders.)
  73. Lavisly illustrated with archival footage, much of it rare, The March makes it almost easy to forget that words--not to mention the one man who said them--were the real stars that day.... Excellent, exhaustive.
  74. A great concept, mostly divorced from reality, with superb execution, just might extend forever.
  75. Humor is also key in the capacious pilot hour directed by John Madden ("Shakespeare in Love"). Subsequent episodes echo its deft balance of epic scope and whimsical humanity.
  76. Party Down took awhile to jell, but it has hit its stride as one of TV's most finely observed comedies.
  77. Cumberbatch and star British producers Steven Moffat and Mark Gatiss ("Doctor Who") have performed quite a remarkable feat here--they've created something unique and pleasurable where so many have trod before.
  78. As twisted, and twistedly funny, as ever.
  79. The Shield (this season and every season) is an intoxicating head-gamer of a show that grabs you by the throat.
  80. Yes, "Deadwood" was incomprehensible last season. It is incomprehensible this season. Fans will be delighted.
  81. Of course there are dozens of loose ends in need of tying, but you do get the sense that some will actually get tied, and in a satisfying way.
  82. The cast succeeds, and in the end, so does Heart.
  83. The Affair might be an exercise in literary gamesmanship if the acting and writing weren't so strong, or the setting so evocative.... Engrossing.
  84. Tonight's episode is superb, and barrels--relentlessly--toward the answers.
    • 85 Metascore
    • 100 Critic Score
    Riveting, important and lots of fun.
  85. Breaking Bad is extraordinary, and if the rest of the season matches Sunday, an Emmy nomination for best drama seems certain.
  86. This still very much feels like a journey worth taking if only because--in the process--Hamm deftly continues to locate some heroic facet in TV's reigning anti-hero.
  87. The best new drama of the season, the only one of the 44 new shows that could join "Law & Order," "Homicide," "NYPD Blue," "Murder One" in the pantheon of quality shows. [11 Oct 1996]
    • Newsday
  88. The hype is justified. Nashville's terrific.
  89. 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
  90. It was last year, and remains so this year--one of TV's very best.
  91. Africa convincingly, emphatically, establishes that you ain't seen nothing yet.
  92. Smart new cop show that takes time to build, but will reward patience.
  93. Much grimmer, grayer and (gasp) dowdier. Still mostly wonderful.
  94. This is TV's best comedy. And there's nothing in the first two episodes that would suggest otherwise.
  95. Ok so Better Off Ted can be oxygen-deprived. This is still one of the funniest shows on TV, and the cast sparkles with vets like Harington, Barrett and de Rossi...Anders and Slavin, too.
  96. Sharper, smarter, more richly layered, detailed (and acted), Girls has improved upon its first season.
  97. Judge has a keen eye for the absurdities of human behavior and speech, but he's not the kind of guy to waste that on subtle inside jokes or wordplay. He's not someone to waste it on farce, either: Silicon Valley also happens to be sly and smart.

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