Newsday's Scores

  • TV
For 1,659 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 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Those Who Kill: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 1103
  2. Negative: 0 out of 1103
1103 tv reviews
  1. At turns it's sad, poignant, bitter and funny (yes, more than enough turns in that direction).
  2. The best unscripted show on commercial television this season, which you may correctly point out is faint praise; but in this case, it's not.
  3. Thurgood feels more "important" than dramatic. Part of it is Stevens' then-I-did-this structure, more focused on biographical bullet points than the flesh-and-blood human behind them. And part of it is Fishburne, who despite coiled power--his Ike Turner in "What's Love Got to Do With It" was Oscar-nominated--resonates here as a cool character rather than a fiery one.
  4. After the first season's packed finale, Sunday's episode settles down, takes a breath, and slowwwwws down. That's absolutely an auspicious and necessary development.
  5. It's less the Plot Events that ring true here than the well-played little side moments and background squabbles, the simmering resentments and recriminations, the emotional tugs-of-war.
  6. A well-crafted, well-intentioned documentary series that excels when it offers rare concrete examples of the amorphous role producers play in the musical process, while also shining a spotlight on a who’s who of great producers.
  7. The season's premiere represents pig-in-the-python storytelling--there's so much to work through, so many details, stories, characters and time dimensions to attend to, that after a while this all starts to feel like a very full meal.
  8. Fun, colorful, lively--but is there a real show here, or just a good joke?
  9. [A] rewardingly seasoned new drama series that's practically indistinguishable from the acclaimed feature film, except that it's better.
  10. No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.
  11. 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.
  12. McKinley and its denizens feel just a little too cliched, the emerging romantic entanglements a little too forced, the female characters--notably Terri and Sue Sylvester--just a little too mean-spirited. Still, it's a great cast.
  13. Smart newcomer with a pair of leads that turns The Americans into a likely winner.
  14. As a character with a sartorial preference for canary yellow, Kemper's Schmidt comes into focus intensely and immediately. She pops off the screen, and pleasingly so. Her series, less so.
  15. This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.
  16. Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.
  17. The spirit of Gaiman’s classic has been captured, but not yet the vision.
  18. Congenial.
  19. The Beales' story--predictably, sadly--descends into mutual recrimination, then near madness. It's all rescued by two stunning performances.
  20. After a shaky start, Pete gets denser, trickier and better.
  21. Yes, "black-ish" can be fiercely funny, sharply observed, and unfailingly good-humored about the racial divide. But just beyond that glossy surface is a serious and even compelling undercurrent.
  22. The most thought-provoking new series of the year on TV. [6 Oct 1999, p.B39]
    • Newsday
  23. "Dexter" knows what it's doing, and savors its skill immensely.
  24. It's all standard Schumer stuff, and nothing fans haven't sort of heard before, or maybe laughed at before, or cringed at before, or seen elements of before (her 2012 Comedy Central special). Those fans should be pleased. As usual, everyone else will be appalled.
  25. This impressive fact-based debut from cultural journalist turned director Nelson George keeps us captivated simply by honing in tight on the character of its people, sketching in fine detail not just their admirable strengths but their all-too-human flaws.
  26. The Bridge is highly absorbing.
  27. It's wonderful stuff, and we all seem to be on a voyage of discovery.
  28. 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.
  29. To steal from the old beer slogan, (this show) looks great, (but it's) less filling (than it intends).
    • 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
  30. 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.
  31. Whatever it was that made Empire the sensation of the 2014-15 season hasn't gone away for the new season.
  32. Fun, lively, interesting, but also tends to lose focus at times.
  33. The characters in "Hope" are slightly more interesting [than those in "ER"]. Even though they are working in a high-powered hospital and have God-like powers, you can see what's going on behind their masks beyond their eyes. [18 Sep 1994]
    • Newsday
  34. Here's to a long and fruitful run in the new home. Tuesday night proves exactly why Southland deserves one.
  35. Based on most of the first five episodes sent out for review, Boardwalk Empire easily establishes its claim as one of the three or four best dramas on TV.
  36. Intriguing... but somber and slowww-moving.
  37. This narrated comedy-drama finely observes the particulars and peculiarities of teen life, both in the family its narrator is trying to outgrow and the high school pecking order he's hoping to rise in.
  38. Smart, taut, engaging and propulsive. The fifth looks terrific.
  39. There’s some funny stuff on the Netflix version (two episodes were made available). Truthfully, just not enough. In fact, W/Bob & David can be more tedious than inventive.
  40. Saccharine by jaded prime-time standards, this show still just might be the kind of sentiment lots of viewers crave at the moment.
  41. Above-average newcomer with a great actor in the leading role and frosty grace notes throughout.
  42. The Tenth Inning is dutiful, sober and thoughtful. No spitballs are thrown. No banned substances have been added to bloat it up to obscene, grotesque proportions. What is missing in at least tonight's installment is surprise, or the pleasant shock of learning something brand new or unexpected.
  43. All charisma and command, [Idris Elb] blasts through the screen in every shot while his performance is a constant reminder that the craft, at its best, is a gossamer of countless little details that add up to something magical.
  44. Manhunt isn't out to settle scores, but explain the laborious process of intelligence gathering. No one here is looking for a citation, but understanding, and that's what "Manhunt" does best, as well as--yes--connect some dots.
  45. Watching Seinfeld knock out the oldies-but-goldies is indeed watching someone do what they were born to do. He’s a master technician who cuts through the material at a high rate of speed, while using pantomime to fill in the blanks or give the punchline a steroid boost.
  46. Second-season expectations for Glee are almost too high. Potential reality series, movies, spinoffs, tours, record contracts...the surround sound that's jacked up around this hit is now officially deafening. Unrelenting distractions can push series off their game, and there's evidence tonight Glee is off its game.
    • Newsday
  47. Dogs is a perfectly pleasant show based on the perfectly reasonable proposition that dogs are people, too.
  48. A re-energized and immensely entertaining start to the third season.
  49. Not a single minute seems superfluous. This is all-engrossing, and all-informative.
  50. Middling start, but we've stuck with Rescue Me this long, and no point in bailing now.
  51. Still fun, but the innocent first moments last season were better.
  52. Beautiful, elegant final ride, full of love and nostalgia and joy.
  53. The Jinx does channel that we're-all-on-this-ride-together thrill that hooked so many listeners of last fall's NPR podcast, "Serial," about a murder of a Maryland teen. This may be a high-gloss treatment that utilizes all the tricks of the TV trade, including dramatic re-creations, and a way-over-baked credit sequence, but that sense of unfolding discovery remains.
  54. 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.
  55. The pilot is flawed (most pilots are), not particularly funny and even--bizarrely--deploys two bland jokes from the "Weeds" premiere at 10 (did the writers trade notes?). But Falco is good, proving that she can transcend Carmela Soprano.
    • 76 Metascore
    • 50 Critic Score
    Alias suffers from a split personality. It's half John LeCarre, half comic book. In the field, Sydney, who looks about as formidable as your average Vogue cover girl, becomes a spike-heeled super-spy who shoots and karate-kicks her way through a horde of terrorist storm troopers as if they were targets in a video game. She's preposterous, and so is half the show. But viewers who just want to see bad guys die may not mind.
  56. Fascinating and deeply troubling.
  57. A fast and furious romp through the first six episodes that should keep bingers--and fans--happy.
  58. Sunday's episode is a necessary decompression episode after last season's intense finale.
  59. Still sweet and sad, but often dour and slow, too.
  60. Unless your name is Stephen King or Steven Spielberg, there’s only so much new anyone can bring to this potluck supper. The Duffers don’t bring much new. They do bring a large degree of enthusiasm, however.
  61. A few new faces from last season are back, but the formula remains ironclad, right down to the soaring courtroom rhetoric and McCoy's somewhat suspect ethical calculus. This comfort food remains comfortable, indeed.
  62. Can a bad person become a good president? The answer may be self-evident--or maybe not. Nevertheless, therein lies a compelling new season. We may still have a lot more to learn about Frank Underwood after all.
  63. Good setup pilot on Sunday that doesn’t quite carry over into subsequent episodes.
  64. Girls is as Girls always was--sharply observed, intensely self-aware and very funny.
  65. The writing is intelligent, wittily playing off our knowledge of the Superman lore, and the production values are on par with top-quality fantasy / sci-fi shows like "The X-Files."...Smallville is the most purely enjoyable dramatic series of the new season. Like Clark, this baby's destined to fly. [16 Oct 2001, p.B27]
    • Newsday
  66. Monday's pilot can't quite close the sale, but there's promise here. The Chicago Code deserves another look.
  67. This fall's most satisfying series delight.
  68. Garcia's single-camera editing amplifies the comedy inherent, rather than being a crutch to create it. And the casting here is as good as "Earl," which is saying something--even if Leachman goes a bit off the rails as wacked-out "mamaw."
  69. No relaxing allowed with Boss. Sorry about that, and sorry for this series, which remains smart, absorbing and particularly well done.
  70. Angel upholds Whedon's spellbinding "Buffy" mantle and expands it, taking his surprisingly mature and witty view of life among the supernatural into an adult realm. [5 Oct 1999, p.B27]
    • Newsday
  71. Richness of detail permeates this modern tube-noir. The more damage done, the more juicy fun for us to savor.
  72. It's homage of the highest form, but comedy of the highest form, too. Cos quite obviously is far from finished.
  73. Soderbergh has created a vibrant, dark and above all alluring Gotham. Owen's Thackery is its bracing human counterpart.
  74. It's lackadaisical, weary, bland and off-center.
  75. Disgusting--but in a good way.
  76. Good newcomer, good cast and star showrunner. What’s missing, at least in the early episodes, is a propulsive story and pace to match.
  77. There are many enjoyable performances by many wonderful actors, including Baranski, Panjabi and, the nicest surprise of all, David Paymer, who plays a judge. But you've seen much of this before.
  78. Good start to the third season, and from what I sampled, it builds from there.
  79. Mike Tyson Mysteries is highbrow lowbrow lampoon, alternately smart and stupid, dizzy and disgusting.
  80. Powerful story. A shame Bessie rarely conveys the story's emotional wallop.
  81. Fresh Off the Boat is charming, convivial, even--gasp--at times cute.
  82. "Without a Trace" is about the work, about the puzzle. If you want the untidy cop stuff, stick with "NYPD Blue." [26 Sep 2002]
    • Newsday
  83. There are three excellent reasons--Milch, Mann and Hoffman--why your faith will be rewarded.
  84. It's smartly acted, well written, funny, expertly directed and hugely entertaining. And utterly, totally, profoundly devoid of pretension.
    • 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.
  85. What's here is pitch-perfect - the fear, loss, emotional devastation and, peculiar to this disease, silence.
  86. The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.
  87. He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]
    • Newsday
  88. A well-produced film that is ultimately more painful than conclusive.
  89. TV's pre-eminent people-watching pleasure.
  90. There's a wonderful cast here... There's even an intriguing core idea... But the show also feels phony from beginning to end.
  91. A series that can still be occasionally talky and turgid.... Hardwick's the better and smoother actor, and certainly the more appealing one. But it's Jackson who gives this show bite and--to a considerable degree--life, too.
  92. Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.
  93. The show's crisp, witty dialogue is mostly egalitarian among the ages, and everyone's great at working the words.
  94. They know how to nail situations/characters, while snappy edits cull fluff, leaving only comic gold.
  95. Veep is the single most improved series on television.
  96. Grease: Live was maybe not a slam dunk, but nevertheless was the crowd pleaser it deserves to be and so often has been.
  97. In the end, don't much like Ray Donovan.... [But] Donovan ultimately succeeds on the little things--some very good performances by some very good actors and sharp dialogue by Biderman, who knows how to write Tough Guy talk with the best of them.

Top Trailers