Newsday's Scores

  • TV
For 1,737 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 3.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Seinfeld: Season 5
Lowest review score: 0 Murphy's Law (1988): Season 1
Score distribution:
  1. Mixed: 0 out of 1163
  2. Negative: 0 out of 1163
1163 tv reviews
  1. Slow start Sunday, but the drama's beauty and quality are intact.
  2. About as good a Community restart as anyone could have possible hoped for.
  3. The Assets isn't flashy, but boy, is it effective. It just grinds away, laying down intriguing details of "asset" care and feeding, made vivid through determined performances and intense crescendos.
  4. A little long-winded in some stretches, not detailed enough in others but Holmes fans--and fans of cop procedurals--should like this.
  5. "Johnny's" back to corrupt the locals, and if you liked last season, there's no apparent reason not to go along for this ride.
    • 80 Metascore
    • 70 Critic Score
    Dream On is almost there. It still needs some work, though. [6 July 1990, p.43]
    • Newsday
    • 85 Metascore
    • 100 Critic Score
    Riveting, important and lots of fun.
  6. Underwood, in the role of Maria, didn't entirely succeed--acting is part of the bargain, after all. But NBC's live version of Richard Rodgers' and Oscar Hammerstein's beloved musical, staged at Grumman Studios in Bethpage, largely did.
  7. Bonnie & Clyde really is just another biopic with superior production values, a few good performances and a pair of protagonists who deserve no sympathy, and receive none here.
  8. The pilot has some funny moments, but after that, Kirstie starts to flatline.
  9. Glimmers of hope force their way through the fog of noir cliche.
  10. Still good, still not for everyone, and almost gone for good.
  11. Its tender moments register without feeling forced while the comedy comes in the form of a constant IV drip.
  12. It's homage of the highest form, but comedy of the highest form, too. Cos quite obviously is far from finished.
  13. 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.
  14. Quiet, intelligent, worth checking out.
  15. Lively pilot, with plenty of pop--but you've seen it all before.
  16. [Bill Lawrence] scores again here, with an instantly appealing ensemble, from Astin's "soulless upstairs tool" to Rory Scovel as the downstairs dude from "a very competitive community college.
  17. We already know too much and paradoxically too little about the JFK assassination. A TV movie needed to tell us something we don't know. No dice here.
  18. Recycled theory with some fresh perspective--but it still smells recycled.
  19. Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.
  20. All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.
  21. Not a single minute seems superfluous. This is all-engrossing, and all-informative.
  22. What's missing is passion, joy and (ultimately) interest.
  23. Not that I think The CW has any grasp of the mental mojo that made its WB network predecessor such a pop-culture kick. Really? This twaddle? Every single week?
  24. Excellent actors playing excellent actors--and largely succeeding.
  25. Disgusting--but in a good way.
  26. There's too much going on to tell what might ultimately stick, other than the contents of the Mallow Marsh.
  27. 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.
  28. From "The Mod Squad" to "Being Human," TV's young misfits find it [family] where they can, and Tomorrow is that next step, too. Scripter Phil Klemmer wrote for "Chuck" and "Veronica Mars," good arguments for promise here (and "Undercovers," a bad one).

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