Newsday's Scores

  • TV
For 1,132 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 3.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 United States of Tara: Season 3
Lowest review score: 0 Big Shots: Season 1
Score distribution:
  1. Mixed: 0 out of 741
  2. Negative: 0 out of 741
741 tv reviews
    • 78 Metascore
    • 80 Critic Score
    Seinfeld's gentle humor is easy to take. Unlike other current comedians, such as Andrew Dice Clay or Sam Kinison, Seinfeld isn't angry: He's more awed by the wonder of it all. [13 May 1990, p.13]
  1. 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.
  2. As real as real gets, invaluably adding human understanding to a hot-button topic.
  3. The Gus Vant Sant-directed pilot of what is easily the most important project in Starz history pulses with the sort of corruption that absolute power sires.
  4. Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.
  5. No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.
  6. While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
  7. [These women make] instant impact, of course, with their stories but also through sheer personality.
  8. 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.
  9. 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.
  10. 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.
  11. The Closer may be the most comfortable old shoe on all of television; slip it on and be assured of no blisters. In fact, the cast (and not just Sedgwick) is so competent, the characters' tics so familiar; and the format and formula so firmly etched in "ceeement" (as Brenda might say) that it all feels almost too comfy.
  12. [A] rewardingly seasoned new drama series that's practically indistinguishable from the acclaimed feature film, except that it's better.
  13. 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.
  14. Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.
  15. 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.
  16. Congenial.
  17. Smart newcomer with a pair of leads that turns The Americans into a likely winner.
  18. The Beales' story--predictably, sadly--descends into mutual recrimination, then near madness. It's all rescued by two stunning performances.
  19. The most thought-provoking new series of the year on TV. [6 Oct 1999, p.B39]
  20. Here's to a long and fruitful run in the new home. Tuesday night proves exactly why Southland deserves one.
  21. "Dexter" knows what it's doing, and savors its skill immensely.
  22. 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.
  23. The Bridge is highly absorbing.
  24. 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.
  25. It's wonderful stuff, and we all seem to be on a voyage of discovery.
  26. The best new show of the year. [28 Dec 1994]
  27. To steal from the old beer slogan, (this show) looks great, (but it's) less filling (than it intends).
  28. Another Discovery/BBC beauty, but short on answering obvious questions.
  29. 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.