Newsday's Scores

  • TV
For 1,682 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 Boardwalk Empire: Season 5
Lowest review score: 0 The Choice: Season 1
Score distribution:
  1. Mixed: 0 out of 1120
  2. Negative: 0 out of 1120
1120 tv reviews
  1. "Just Shoot Me" is Moliere compared to "Suddenly Susan" and producer Brillstein-Grey's other hit, "The Naked Truth." The writing is sharper, the targets in the worlds of fashion, journalism and TV news are hit more frequently, and it is funnier. [10 Mar 1997]
    • Newsday
  2. As with "HIMYM," guessing where that will be could be part of the fun--or frustration, if A to Z loses control of the story. Thursday's opener is so sharply executed, however, that doesn't look to be much of a concern.
  3. A watchable and skillfully made telefilm (Jay Roach of "Austin Powers" fame directed) that is, nonetheless, marred by a melodramatic reliance on Good vs. Evil, and guess which side is which?
  4. The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.
  5. Ambitious and intelligent, but also a sprawl that can’t quite master all the big themes and ideas.
  6. Some brief memorable performances, particularly Cusack as a tippling housewife. Otherwise, an inexplicable misfire.
  7. The Red Road demands patience, but from what I've seen, it strongly suggests that will be rewarded.
  8. Fear the Walking Dead is slow and a little bit dull.... Now the good. Fear's opening act is a strong one. There's a nice overall build, too, particularly during the second episode.
  9. The acting is solid all around--just not entirely convincing.
  10. What Canterbury has powerfully going for it, besides the magnetic/vulnerable Margulies, is a cast surrounding her with equal strength, from principled second Ben Shenkman to Terry Kinney as their sneaky prosecutorial adversary, plus an array of effective guest stars from the rich East Coast acting pool.
  11. If you love Zooey Deschanel, this one's for you. If not, a pass.
  12. 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.
  13. What's best about Time is its ambition; it glows with a near-theatrical shine, challenging viewers to think about TV drama as something other than boilerplate.
  14. This is almost too clever, funny and ironic for MTV.
  15. Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.
  16. Thin, flavorless high school gruel, but the lead bad boy is intriguing.
  17. A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."
  18. Its tone can be inconsistent. With a couple of actors’ actors--Leigh and Rapaport--and Gilchrist at the helm, Atypical still manages to mostly stay on track. It’s a good newcomer with the potential to get better.
  19. The horror is what counts in any American Horror Story, and judging from the opening three episodes, it’s more than adequate in Cult. It’s also relentless, grisly and deeply warped.
  20. Good thing is, this ABC hour lives up (down?) to its name, arriving as a wacky/kinky escapist saga of screwed-up rich folks and the down-to-earth family attorney/fixer hired to sort out their shenanigans.
  21. We've just seen this stuff too many times. Merely changing script specifics to Olympic references doesn't make it fresh.
  22. 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.
  23. Enjoy the atmospherics. They're good. Just don't expect them to lead to a satisfying payoff. It might never come.
  24. Falco--as always--remains one of TV's bright shining lights, but her Nurse Jackie suddenly feels like a work in progress.
  25. The Bomb is a headlong-rush past the milestones and guideposts of this history, rarely pausing to explore their deeper consequences or meaning, while offering just a nod now and then to enduring controversies, or acknowledging--though barely exploring--the huge personalities that shaped this history, such as Robert Oppenheimer. The actual science is almost completely ignored.
  26. Rick Berman and Brannon Braga have assembled an attractive cast and found a tone -colloquial, humorous, slyly sexy -that probably will make questions about the science in this fiction moot. [26 Sep 2001]
    • Newsday
  27. Tonight's preview/pilot can get so intoxicated with hip-hop scratching - jump-cuts, slo-mo, video backtracking - that it forgets to remember style best serves substance. [14 Apr 2003]
    • Newsday
  28. It's a cut above boilerplate, with good production values and decent performances.
  29. Expanse is so expansive, it’s hard to pin down--well, anything.
  30. Even if we are being taken for a ride, there's so much to savor on this trip. [12 Sep 2003]
    • Newsday
  31. By the end of the first season, the show had improved significantly, if not quite dramatically, and based on a viewing of the first two episodes, that trend continues.
  32. The most interesting character, or certainly most compelling, is Barkin’s Smurf. She’s a Ma Barker with cleavage, a brownie-baking Gemma Teller (“Sons of Anarchy”). Ultimately, she may be the one to seal the pact here.
  33. The pilot's envelope-pushing is caustic and obvious, two things Mom seems better than. Faris is both gutsy and touching as the adult trying to get her act together, while Janney's crafty adolescence extends to a third generation around Faris' two kids.
  34. The show is an old-fashioned courtroom procedural, but the pilot has enough sharp writing and well-greased plot twists to suggest future promise.
  35. Good newcomer that gets even better in the weeks ahead.
  36. The River still has a quirkily eccentric charm. It's just so deliciously odd.
  37. The parsing of detail is effective because by the end of Monday's pilot, I was surprised by an unexpected reaction: I actually wanted to know what happens next week.
  38. The same strut and swagger is here, except Ballers feels smarter and more clear-eyed about the dangers of this culture, in ways "Entourage" never did.
  39. The formula--must find murderer of beautiful woman before last commercial break--predates the dinosaurs, but also incorporates some satisfying twists.
  40. Good Girls gets the journalism part almost laughably wrong, but as an ensemble drama with a good cast, high production values, and much else, even a crusty editor might observe that, “This story has legs.”
  41. You're the Worst exudes some charm (Cash is rich indeed) but can't keep from overstepping, either. It's saved by relationship detail and human vulnerability that "Married" utterly misses.
  42. There's texture galore in this city-shot cop hour, eyed by handheld lenses echoing "Homicide's" edge (and director Peter Berg's "Friday Night Lights" intimacy).
    • 65 Metascore
    • 75 Critic Score
    Sure, it’s understandable that CMT wants to make the mini series interesting to non-music fans, but a little more music is what would take Sun Records from good to great.
  43. As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."
  44. Proceed with caution into this foul but funny cauldron of catastrophe.
  45. Nothing much new here (based on the first hour), but Remini appears resolute, tough-talking and potentially formidable.
  46. Family is a trifle--part comic book, part kids' show--that is perfectly pleasant but without edge, bite or dramatic heft. With Chiklis aboard, it's like witnessing a concert pianist execute an elaborate version of "Chopsticks."
  47. Who is he? Who-who, who-who? I really want to know. But I don't think I want to sit through four or five episodes, let alone a season or two, to find out. [20 Sept 2002]
    • Newsday
  48. It's one tasty piece of lunacy.
  49. It's all a bit much in Monday's opener, and yet I suspect that, like the $400 shirts and luxury ride of Dennis Farina's "Law & Order" character, which initially came across as contrast run amok, Deputy Chief Johnson's contrived personality excesses will fade with time. And what will be left is a compelling character in a solid show - not a tradition-buster like FX's "The Shield" but probably a broader-based hit. [12 Jun 2005]
    • Newsday
  50. What's missing is passion, joy and (ultimately) interest.
  51. What's wrong here are some of the same elements that have made the 2013-14 network comedy crop one of the weakest in memory--not enough laughs, not enough of a show that feels like it has something interesting to say (and wants to say it).
  52. As genre satire, Spoils is amusing. As film study, it's informative. As a viewing experience? Uneven: Sometimes funny, a little more often not.
  53. Hall lacks Walken's natural aura of strangeness, and he looks a little too well-fed for a guy who has been vegetating for half a decade. But he does manage to make Smith credible and sympathetic. [14 June 2002, p.B51]
    • Newsday
  54. A rich character drama and riveting suspenser that makes Fox's "24" seem lackluster.
  55. The feel is more documentary than "reality" show, which some viewers will appreciate and others won't.
  56. Genius doesn’t just skate over the science, it ignores it.
  57. A baffling, beautiful, maddening, provocative puzzle.
  58. It is merely OK--not quite tricky enough to satisfy the hard-core geeks, not quite mindless enough to satisfy someone who just wants to watch the tube and forget a long day. But it is tricky, with at least one interesting twist.
  59. A sharply written, acted and directed start that will hook fans immediately.
  60. The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.
  61. Just about everything worked, and worked well, from the opening credits to the final ones. The energy and beauty of New York City was incorporated in a way that exceeded even my expectations--happily exceeded them. Meanwhile, The host: A bit nervous, understandably, he nonetheless reminded fans and people who have never heard of him why he's here.
  62. Fascinating documentary--and extremely effective commercial.
  63. The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.
  64. A lethargic procedural is brightened by a good cast.
  65. it's a clanking, clattering collection of collagenous clinkers--of dialogue so inept, of acting performances so preposterous, of plot points so cliched that the only question worth posing is why someone of Weaver's stature would be caught anywhere near a turkey like this.
  66. A fun show, but where, oh where is all this heading?
  67. Asylum has some good special effects, just not much of a story to hang them on.
  68. One little gripe---Pioneers needed to give a tip of the space helmet to some '50s pioneers, such as "Captain Video" and "Flash Gordon." Otherwise, it's all pleasure.
  69. 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).
  70. The good Lord created sitcoms like The Soul Man as relaxing, relatable humor with heart, and Cedric's new creation isn't about to mess with His template.
  71. First impression of the third season is a good one.
  72. Bible Challenge tries to cover all bases in America's complicated Christian field.
  73. It's not insulting to the intelligence. The first episode is promising and mildly, if not wildly, amusing. What it has going for it more than the laugh track is good writing and performances. [21 Sep 1995]
    • Newsday
    • 65 Metascore
    • 60 Critic Score
    What may bring even jaded viewers back to "Christy" is Tyne Daly's striking characterization of Alice Henderson, the kind but formidable Quaker who serves as the heroine's mentor. [3 Apr 1994]
    • Newsday
  74. It's hilarious, and sad, and ironic, and rich.
  75. It's OK, but not great. [20 Sep 1993]
    • Newsday
  76. Magic City--on paper, not on screen--remains a compelling idea in search of great execution.
  77. A sweet, gentle, good-natured trifle that is (nonetheless) surprisingly airless and only rarely funny, if that.
    • 64 Metascore
    • 75 Critic Score
    Overall, a meaner, harsher fashion competition, but compelling.
  78. Lacks the hard, uncomfortable edges of [FX's also premiering] "Starved," but it's clear this show wants and intends to do a little damage, too. [4 Aug 2005]
    • Newsday
  79. Noah's Daily Show at once felt confident but also oddly tentative. Smoothly delivered but uneven.... Not quite a rocky start, but not an emphatically comforting one for fans either.
  80. 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.
  81. Bored sometimes lags and drags, as if it took a few tokes, too. But when it's funny--and Bored certainly can be--it's a winner.
  82. Good idea and better cast squandered on a slapdash premise, weak writing and South Florida cliches.
  83. Hot in Cleveland is a by-the-numbers sitcom with a couple of laughs, an inoffensive premise and four seasoned actresses who make the material much better than it is.
  84. The results so far are very (very) funny.
  85. The pilot hour delivers with blood-soaked gusto. The second hour gets more amusing. And wit can be the saving grace for casual viewers of the grindhouse genre.
  86. [The stories] mostly do stand on their own. Some are better than others.... a winning cast.
  87. Unfortunately, they've settled on far-too-easy and facile answers for the most part.
  88. Anyone who wants to take a walk on the wild side and lose an appetite in the process, your show has arrived.
  89. Smart. [23 Aug 1998, p.D10]
    • Newsday
  90. A well-rounded, nicely mature comedy.
  91. We aren't just viewing this "Real World" from an objective point of view - watching people behave - but participating in a fresh way. Sorting through all those first-hand viewpoints, we're coming to understand where these diverse people are coming from and why they act the way they do. [19 May 1992]
    • Newsday
  92. It all flows from the heart in a way few shows do, unfolding with the ease of being surrounded by people you've known forever already.
  93. Get past the mawkishness (if you can) and there's a sweetness here, and geniality. The Michael J. Fox Show needs to be much more, but love is hard to shake.
    • 64 Metascore
    • 70 Critic Score
    Lewis is such a commanding presence that Sarah Shahi is rendered little more than an accessory as Dani. There's nothing going on between the partners at the outset, but this is subject to change.
  94. I'm punchy after an hour-and-change of lame chases, inane dialogue, ludicrous plot twists and absurdist acting techniques. But by the end of this, I pretty much had a crush on Piper Perabo and Anne Dudek (who plays her sister), so I guess it was worthwhile after all.
  95. Linney is a fine actress, but her material here doesn't match her talents.
  96. Skies fans should be pleased.

Top Trailers