Newsday's Scores

  • TV
For 1,651 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 Behind the Candelabra
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 1097
  2. Negative: 0 out of 1097
1097 tv reviews
  1. Fun comedy that takes time to warm up to.
  2. Layering such unnatural proceedings into the family-drama format only intensifies both story angles when you do it right. And Cassidy has, with strong casting, solid structure and a fine feel for what's most frightening.
  3. It's all vaguely familiar and spirited enough to look like shiny summer fare. Just don't scratch the surface.
  4. Too much of the carnal Amy, not enough of the smart, cultural critic Amy.
  5. Overall, this was a good start.... The show was rushed, the commercialism troubling, the interviews a mixed bag. But no one looks for perfection the first night--just signs, and they were mostly positive Tuesday.
  6. The intrigue continues and The Borgias remains one of TV's more reliable potboilers.
  7. Calling Rome a crushing disappointment would be accurate but too forgiving of its sordidly cockamamy fixations. Brutality and nudity rise in direct proportion to unpersuasive storytelling. Finding someone, anyone, to care about amid all this shock-value Sturm und Drang swiftly becomes an enervating chore. [26 Aug 2005, p.B33]
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  8. "Spin City" doesn't have a good joke, other than Michael J. Fox. He has to carry the show himself. He has to be what makes you laugh. In the first three episodes he is not funny, he is cute. [7 Oct 1996]
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  9. There's so much to like here. Now, all P&R has to do is become consistently likable.
  10. It's evocative, smartly structured, well acted and insists that the strange ride you are about to take will be worth every minute.
    • 71 Metascore
    • 91 Critic Score
    It's not a bit hokey, as are many reality show competitions. Unlike "ANTM," the coaches don't judge. Instead, they leave that to industry experts who are authentic: smart, tough and unemotional.
  11. This is a gentle, good-hearted series and Scott was pretty much born to play Precious. But LDA can also be willfully, stubbornly languid.
  12. The pace has slowed, the ride less wild, the story refocused on Ray's "fixer" skills.... McShane and Holmes are welcome additions.
  13. Overly familiar story beats and cardboard character cutouts in Wednesday’s opener blunt the return of Jack Bauer 2.0. A hint of genuine promise, however, remains.
    • 71 Metascore
    • 60 Critic Score
    Engrossing at times and well worth watching, though the writing is often graceless and the direction haphazard.
  14. Brownstein and Armisen move so effortlessly between characters, then execute their riffs, tics, styles and voices with such skilled abandon that before long this doesn't seem like satire any longer but a fun house mirror reflection of intensely real people.
  15. Even vintage home movies from unexpected sources-- Oakland’s black community, a Kentucky small-town newspaper--conjure a relatable sense of life being lived, in a continuity that clearly flows through us today.
  16. The show they're in is amiable enough, but the premise is awfully thin and the pilot doesn't hint at much of anything beyond that.
  17. The Gotham opener probably makes the most compelling case of any newcomer this fall that at least one promise will be kept.
  18. Still smart, still good, still fun, Human Target remains one of TV's best comic books.
  19. People are dogs, too. We also have complicated emotional lives, further complicated by our professional ones. We also seek food. We also seek love. We obsess. Nan and Martin’s bond works--and consequently this terrific series works--because it abides by these simple, inalienable truths.
  20. Caprica feels torn between soulfully mature ruminations and adolescent "accessibility" for gamers wondering where the space action went. Let's hope the pilot's spellbinding second hour points the way toward greatness.
  21. 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.
  22. The Comeback" is strictly for Comeback connoisseurs--those who deeply missed this sad/funny mockumentary on the idiocy of show business.
  23. Raunchy and at times genuinely funny, Apartment 23 is jam-packed with promise--and inconsistencies.
  24. In the beginning, I thought it was well done, marvelously quirky and creepy, beautifully photographed, extraordinarily moody and well acted. But I can't imagine a reason to watch another episode. [27 Oct 1996]
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  25. 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.
  26. Quirky, uneven oddball that will appeal to a few. Best to wait for all episodes to stream and go ahead and binge.
  27. Vinyl is a compelling idea in search of a compelling story. There simply isn’t much of one, in fact, and--abhorring the ever-present vacuum--a lot of other elements rush in to fill the void. Scenes are padded, lots of flashbacks are even more flaccid, while actors devour the helpless scenery.
  28. "Suburgatory" falls flat--a flatness that will be accentuated by the smart suburban comedies that bookend it.
  29. Finding Carter isn't some teen show. It's a stellar drama.
  30. "Big Love" does more this year than you might expect, and more richly, more provocatively, more dramatically and amusingly, too.
  31. Extremely raunchy, and often quite funny.
  32. Sit back, don't think, and expect some good performances--especially by Jennifer Carpenter.
  33. Easily one of fall's better new comedies, but don't expect to be blown away yet. The pilot offers just a taste of what's to come, which is plenty good enough.
  34. Huge looks and feels like a show that knows what it's talking about.
  35. Giving us hope are Kapinos' brisk writing and Duchovny's agile performance, conveying smarts, savvy, self-indulgence and sad stupidity in equal amounts.
  36. For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
  37. Entourage--at least in original episodes--has been off the air for one solid year, but when that title song from Jane's Addiction kicks in, it's like an old friend calling--only this time, the friend seems worthier, and his stories more interesting.
  38. This John Logan creation promises an intriguing summer pastime, for an eight-week run anyway.
  39. Skies needs more horror. Less talk. More dramatic tension. Less (ummm) talk. More crazy, wild shootouts with the despicable aliens, who don't seem particularly bright, by the way. Less (all together now) talk.
  40. 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.
  41. With all this time spent checking off genre boxes, there’s scant space for the narrative to breathe beyond them.
  42. The show has sneaky depth. The leads are pretty without being "pretty," refreshingly down-to-earth likable, and able to flesh out their youthful stereotypes with this weird thing called personality.
  43. Forgive the pun, but this brass needs polishing. The Green/Burgess team is one of TV's best and we hope they'll make this show as sharp and compelling as it should be.
  44. 24, in other words, is still thankfully 24.
  45. A relentlessly grim and deeply depressing viewing experience.
  46. Even for sitcoms, "Sunny" is often a vile, twisted beast that crosses the line of acceptable taste. But it can also be highly amusing, and the addition of DeVito and Archer does nothing to diminish that. [29 Jun 2006]
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  47. At least the opener indicates this remains an intelligent series in search of complex answers to complicated questions.
  48. Like a series of one-act two-handers--stage plays where just a pair of actors face off--this sneaky little gem steadily strips away its therapy patients' emotional defenses and excuses, exposing the raw fears and paralyzing reactions beneath.
  49. We're talking major-league adult content here - from unblinking strip searches, to human branding, to brutal violence and language that the broadcast networks have never even thought about airing. But that's only an alert, not a warning, because this drama series from tube auteur Tom Fontana ("Homicide," "St. Elsewhere") packs a dramatic wallop as potent as its frankness. [11 July 1997, p.B47]
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  50. The Path is a grim unburdening, all right, but also that what-if series in search of deeper moorings, and a deeper meaning.
  51. It's too sitcommy ... But I still love the concept of "NewsRadio." ... And most importantly for the future, "NewsRadio" has some strong people in the supporting cast. [20 Mar 1995]
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  52. Hilarious implausibility, overheated dialogue and enough soap to do several loads of laundry are part of its appeal.
  53. "Mrs. Harris" unfolds with a basic playfulness that keeps the mood light even as the story becomes dark indeed.
  54. Get beyond that preposterous premise outlined above, and you've got a solid piece of prime-time entertainment. This show knows what it is, and knows exactly what the core audience expects.
  55. The writers have great ears for "real" dialogue, and, in fact, not a single line here feels like a dead ball. The characters, too, arrive fully formed and believable. First impressions are absolutely vital in TV, and The Middle makes an excellent one.
  56. Aside from the snappier editing and Sisco's greater sexual aggressiveness - like "Sex and the City's" Samantha, she gets the men on her most-wanted list - this could almost be a "Police Woman" episode from 30 years ago. [1 Oct 2003, p.B23]
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  57. 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]
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  58. [Chopra's] attractive, all right, and so is the rest of the telegenic crowd surrounding her. What's missing is much of a reason to care about her (or them). That's the fault of a pilot which spins a wild-eyed premise.
  59. Hannibal isn't quite the sum of its admittedly evocative parts. The story is often strained, or like that poor synth operator, overextended; the shocks tend to be operatic--oversold as opposed to a deft sudden jolt to emotional solar plexus.
  60. Murphy's concept in its basics is already beautiful. But he pushes the show to be a breathtaking knockout. Like some plastic surgery patients, Nip/Tuck initially gets such a pleasing result that it doesn't seem to know when to stop.
  61. Noble intentions meet nice people.
  62. It's somewhere between a small and a big bust. [24 Sep 1997]
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  63. Still defiantly Community, still good and still uninterested in adding new viewers.
  64. Well-written, directed and acted, Billions is still badly in need of a more human touch.
  65. With two shopping trips in each half-hour, TLC's latest hit is so fast-paced--and such giddy consumerism--that it's fairly irresistible. Also educational.
  66. 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.
  67. The episodes’ hectic “action” often lands perfunctory or incongruous, and character development languishes in favor of sex scenes and left-field encounters “to be explained later.”
  68. Good, compelling, creepy start.
  69. Colorfully drawn. But all inside the lines.
  70. [An] entertaining, engaging start.
  71. 'Flying Blind' is the one gem that stands out in the Fox lineup. The first show takes off like a jet. And the second show is even better. If it's against your religion to watch Fox, this one is worth straying for. [10 Sep 1992]
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  72. You can't help realizing that just by the act of taping a reality show, the Bruces--all nine of them--are already employed in a job, albeit a temporary one.
  73. Community can be fresh, funny, smart and extremely aware of its own cleverness; it also can be terrifically odd--odd good, or odd bad, or sometimes odd-good-bad-strange all at once.
  74. Rubicon unfolds at a languid pace, dispensing information at the rate a not-quite-broken kitchen faucet dispenses drops. You want it to speed up. You want some urgency. You want a few more thrills in this thriller. At least this average TV viewer does.
  75. The first two episodes prove as tiresomely pleased-with-themselves as my run-on sentences. A half-hour is too much of not enough.
  76. Target is pure, utter, ridiculous, over-the-top-into-the-ravine entertainment.
  77. Kaling's good (and always is), but the pilot is just not all that funny.
  78. Morals is raw, interesting, intelligent, sometimes funny (sometimes not), violent (but not overly violent) and unlike anything on TV at the moment.
  79. Hip deep in all the chicken droppings about the movie, you would hardly know that it's a damn good movie. [9 Sept 1993, p.109]
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  80. The performance tends to be monochromatic, and in the end, so is Mildred Pierce. What's especially enjoyable here are the minor performances--especially Pearce as the louche Monty--and the many almost imperceptibly small details, right down to the crockery in a restaurant.
  81. TV fave Daly is more personally accessible than Janssen and Harrison Ford. And his show is beautifully produced. But we've seen it all before. CBS must figure this old-style genre-single- lead hero, chase drama, closed-end action-is primed for a comeback, though it's hard to imagine younger viewers sitting still for this Diagnosis Pursuit. [6 Oct 2000, p.B51]
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  82. Shatner has never been funnier - on purpose or inadvertently. [1 Oct 2004]
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  83. There's greatness begging to be grasped here, and nobody has a handle on it.
  84. It's as if Empire had too many antecedents, and--failing to decide upon one--embraced them all. The result is an interesting idea that can't quite figure out what that idea actually is--or where it should go from here.
  85. What you will certainly see is how finely tuned both the marital observations and comic timing are.... This summer's must-see comedy smash.
  86. Whom to vote for--Dot or Bette? Or will Paulson end up splitting the vote? The special effects are so seamless and Paulson's performance so memorable that it's not a completely incidental question. Then, of course, there's Lange.
  87. The cast has major potential, but Life Unexpected still needs to find an original and compelling voice.
  88. Few divorces are pleasant, but the sharp, nasty scenes between Abby and Jake are the only emotionally honest moments over the first two episodes. Not surprisingly, they're the best ones, too. A shame the antagonists are so unlikable.
  89. Could... become a very pleasant surprise.
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  90. If only I were 12 again. The tween in me would have loved the scruff and the cute and the “wild” antics.
  91. 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.
  92. These folks know how to hit a note, and hold it, which means "Burn Notice" doesn't wobble around wondering how serious/silly to be. Its pitch is perfect.
  93. The Detour is ruthlessly adult stuff--surely too frank and out-there for some viewers--but it’s intrinsically honest, convulsively hilarious and oddly endearing.
  94. Guirgis’s language is authentic and raw, and tethers Luhrman’s gauzy-romanticized world of the South Bronx to the ground. Best of all, the cast--mostly young and mostly newcomers--has figured out how to make this visual and stylistic gumbo gel.
  95. Pitch is doggedly inspirational. And despite its hackneyed moments, the pilot introduces enough meaty stuff to warrant a wait-and-see response. It’s a fresh concept amid TV’s sea of cookie-cutter franchises.
  96. The pursuit of answers feels both rewarding and enjoyable.
  97. 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.
  98. Something's amiss here. The new "CSI" is a little stilted, a little obvious. [23 Sep 2002]
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