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 Community: Season 5
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
  1. Will this be a good season? Undoubtedly, yes, and blood will be spilled. But if this opener is any indication, there's not enough fake blood in Hollywood to sate the fifth.
  2. A lesser known, and unloved Shakespeare play (which, incidentally, had other co-authors) comes to life Sunday, but the better plays air over the next couple weeks.
  3. The end begins--evocatively, dramatically.
  4. Anyone who enters this fantastic and beautifully realized play-scape--which remains ever so slightly ghoulish--will stick around. This is a winner.
  5. Falco, Eve Best (Ellie O'Hara) and Anna Deavere Smith (Gloria Akalitus) are flawless, and... very amusing.
    • 83 Metascore
    • 90 Critic Score
    If the first two episodes are indicative of the kind of inspired lunacy these guys will produce over the next 20 weeks, the Kids may well be the successors to Monty Python, SNL and SCTV. [21 July 1989, p.5]
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  6. The documentary cannily employs Goldberg's enthusiasm and some clever animations over Moms' audio routines to keep this lost legend's influence in the forefront.
  7. Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.
  8. The cast is phenomenal, the writing inventive and genuinely funny, and you could pick just about any character--Andy or Ann, or Ron or Tom (Aziz Ansari) and almost mistake them for the show lead instead of Poehler. But still not quite in the same league as the show that precedes or the one that follows.
  9. A great ensemble cast and characters who grow in complexity, and humanity, episode by episode. If you didn't know them after the second season, you will get to know them well in the third.
  10. The producers' storytelling bravura grabs your guts from the first tense second and doesn't let go. [29 Oct 2002]
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  11. It’s more urgent and visceral, the blood more copious, the agony more intense. This Roots doesn’t flinch, but you almost certainly will. The cast is first-rate, too. ... But this Roots can’t quite escape the faults of the original. Kunta’s story, the Fiddler’s, and later Chicken George’s, are patterns, and also cycles. They seek dignity, but find only indignity--or abject cruelty--over and over.
  12. This show was always best when handling the little things that aim to capture life, and often do.
  13. Bleak and desperate? Possibly (the song [Peggy Lee's haunting cover of the classic Leiber-Stoller song "Is That All There Is?"] is just a sad song). But here's the surprise: Severance makes the opposite case.
  14. Basic yet beautiful, Cosmos appears to be a winner.
  15. It's just as good as I remembered. Even better, if that's possible. [8 Apr 1991]
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  16. You see no skepticism in Beyond. No analysis. No thinking. Just a lot of truly scary people yelling at very young kids.
  17. In Treatment deftly picks up where it left off--midpoint in the journey of Paul Weston's soul--and reminds us why we took this trip with him in the first place. The new cast is superlative, Bryne is intoxicating, and Ryan is an especially excellent addition. Bon voyage.
  18. Everything is pushed right to the edge, and that it doesn't topple over in a flaming heap is tribute to a pair of brilliant performances--though Damon's is first among equals--and an absorbing production that is morbidly fascinating from start to finish.
  19. Halt finally looks like a series going someplace important, and worth viewers going there with it.
  20. They [directors John Dorsey and Andrew Stephan] know how much to say, and show, to viscerally deliver the sights, sounds and even smells, without scaring us away.
  21. Beautifully crafted, occasionally incoherent, often challenging and insistently demanding, but what’s not entirely clear in the early episodes is whether the payoff will be worth all the trouble.
  22. Uniformly excellent - although some additional reporting devoted to the treatment of PTSD would have made this a more complete package.
  23. This beautiful and often moving film resonates even more powerfully with Sandy in our rearview mirror, while Burns' favorite theme--the American character--is drawn here with great clarity.
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  24. What worked especially well last season also gets better in the second.
  25. A warm, welcome and even moving return. Best of all, a reflective one.
  26. The result is not just a great comic book transfer but a warmly human cartoon that's goofy, clever and touching. And cool. What else do we need? [8 Nov 2001, p.B35]
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  27. A beauty that requires time and patience, but at least strongly hints at a payoff that will reward both.
  28. 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
  29. Every character bursts with life here, in what may be the most fully realized show on TV. [13 Aug 2007]
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