Newsday's Scores

  • TV
For 1,366 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: 68
Highest review score: 100 Max Headroom: Season 2
Lowest review score: 0 Woops!: Season 1
Score distribution:
  1. Mixed: 0 out of 897
  2. Negative: 0 out of 897
897 tv reviews
  1. TV's pre-eminent people-watching pleasure.
  2. Bigger, brassier and even more thrilling, Homeland has boosted the stakes.
  3. Burns and Ward pile on so much detail, alongside so much stunning footage, that by watching this whole spread--to borrow that famous and also well-rubbed line -- will be like arriving "where we started and know the place for the first time." Magnificent. Of course.
  4. Target is pure, utter, ridiculous, over-the-top-into-the-ravine entertainment.
  5. Watching the first couple of episodes once again I am marveling at how good the show really is. [16 Jan 2000]
    • Newsday
  6. A re-energized and immensely entertaining start to the third season.
  7. One of TV's best shows, comedy or drama, because this series often succeeds as both.
  8. This one is stylish, smartly produced and has a very appealing cast.
  9. Man, is this a good show...Boomtown is so good, it single-handedly restores your faith in broadcast networks. They can compete with the "freedom" of premium cable. All it takes is creative smarts. And NBC's Boomtown has plenty of those. [27 Sept 2002, p.B02]
    • Newsday
  10. You can't go wrong with Smith ("That '70s Show") or Lenehan, pros with impeccable comic timing, which leaves relative newcomers Bornheimer and Hayes. Thumbs-up here, too. Worst Week may be the best new comedy on network TV this season.
  11. From this, you will gain a keen understanding of what lies beneath those endless rows of markers at any military cemetery. This is an honest and often magnificent tribute to the 1st Marine Division.
  12. Like "Mad Men," Wife has an obsessive attention to detail; it's a hurricane of detail, in the visual touches, legal patter and the actors' unspoken flourishes. Nothing seems extraneous or out of place. Also like "Men," this show cares as much about silence as words, or that which isn't said (also a form of eloquence).
  13. Lean, laconic, precise and as carefully word-crafted as any series on TV, there's pretty much nothing here to suggest that the third season won't be as good as the second--or better.
  14. Unlike "Daddy Dearest," it's a warm, compassionate, story about a human problem the baby boomer generation sooner or later will be dealing with: what to do with geriatric TV set as they get on in years. It's not a big busy ensemble sitcom like "Cheers," more a one-man show for Grammer. But it's cozy, involving, socially relevant and marvelously amusing. [16 Sept 1993, p.93]
    • Newsday
  15. A luminous and fully alive portrait by a first-rate actress.
  16. Excellent actors playing excellent actors--and largely succeeding.
  17. Episodes is flawless and hilarious. What a pity it lasts only seven episodes.
  18. The show also feels more nuanced. If season 4 was like a giant exhaled breath, then season 5 is an inhaled one. The story beats are more deliberate. There's also a sharpened sense of building anticipation--or impending doom.
  19. The first three episodes totally nail it.
  20. Byrne is brilliant and--for the most part--so is this fine and absorbing show.
  21. A densely packed, well-paced gothic horror soap with surprisingly funny twists placed at the worst.
  22. Justified remains as good as ever--and as tautly written, acted and directed, and deeply, completely pleasurable as the fifth season, and the one before that and... all of the other seasons, too, now that I think of it.
  23. The show is well-conceived, well-written and very funny. [16 Sep 1991]
    • Newsday
  24. Not a single minute seems superfluous. This is all-engrossing, and all-informative.
  25. The producers ("Alias" alums Josh Appelbaum and Andre Nemec) have created a Dickensian (with a nod to L. Frank Baum) universe, draped in shadows, pastels and mystery, while aurally wrapped in chestnuts from the Sweet, Five Man Electrical Band and the Ramones. This new series has enormous promise.
  26. Interesting, engaging, worthwhile.
  27. 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.
  28. 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.
  29. Louie very much remains Louie in the best sense.
  30. About as good a Community restart as anyone could have possible hoped for.
  31. This show--still TV's best--remains utterly true to itself.
  32. "Men," of course, remains the King of the Emmys, while Empire nailed the equally prestigious Golden Globe for best drama last winter. But Sunday begins to build the case for Empire, and build it convincingly.
    • 73 Metascore
    • 100 Critic Score
    This was the best comedy on TV last season.
  33. It's a great show, the best new series of the year. It's so - dare I say it? - original. It catches you off guard. Basically, it's everything I'm always looking for in drama. It's beautifully written, authentic, without the plastic Los Angeles look. The acting is marvelous. It's funny in a darkly comedic way, involving as a soap opera, and quirky. I never quite know what's going to happen, even though the subject matter is by no means unprecedented for television. [10 Jan 1999, p.D35]
    • Newsday
  34. It's hilarious, and sad, and ironic, and rich.
  35. Its tender moments register without feeling forced while the comedy comes in the form of a constant IV drip.
  36. Still TV's best--dive in while the water's warm.
  37. Wallops don't get more walloping than the one that arrives at the end of the premiere of FX's adult cop show The Shield. Won't tell you what it is, and don't you dare read other reviews in case they blab it. This is one of those punch-in-the-stomach moments of TV you'll want to remember being stunned by. Although The Shield looks pretty dang good to that point - or pretty %@$#! good, as its characters would swear - the show suddenly becomes flat-out brilliant. [12 Mar 2002, p.B27]
    • Newsday
  38. Judge has a keen eye for the absurdities of human behavior and speech, but he's not the kind of guy to waste that on subtle inside jokes or wordplay. He's not someone to waste it on farce, either: Silicon Valley also happens to be sly and smart.
  39. An addictive show, with great cast, excellent writing.
  40. Watch this, and you'll be tuning in next week.
  41. Monday night's return of Dallas is a joy and everything fans could ask for--the past, present and future all skillfully bound up in a high-gloss melodrama full of deceit, greed, Velveeta and (surprisingly enough) even love.
  42. One of the flat-out funniest half-hours of television in the English-speaking world.
  43. The most fantastic program I've seen in my 18 years as a TV critic. [21 Jan 1988]
    • Newsday
  44. The Shield (this season and every season) is an intoxicating head-gamer of a show that grabs you by the throat.
  45. 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.
    • 85 Metascore
    • 100 Critic Score
    Riveting, important and lots of fun.
  46. A work of TV art. ... It's a major, major series - a masterpiece, with great characters. The writing is textured, deep, rich. [26 Apr 1988]
    • Newsday
  47. Disgusting--but in a good way.
  48. Better, richer, more compelling than season one.
  49. They know how to nail situations/characters, while snappy edits cull fluff, leaving only comic gold.
  50. The end begins--evocatively, dramatically.
  51. The Affair might be an exercise in literary gamesmanship if the acting and writing weren't so strong, or the setting so evocative.... Engrossing.
  52. This still very much feels like a journey worth taking if only because--in the process--Hamm deftly continues to locate some heroic facet in TV's reigning anti-hero.
  53. One of TV's bleakest shows is also one of TV's best comedies. What a marvel.
  54. A stunning, brilliant, terrifying launch to TV's best series.
  55. Manhunt isn't out to settle scores, but explain the laborious process of intelligence gathering. No one here is looking for a citation, but understanding, and that's what "Manhunt" does best, as well as--yes--connect some dots.
  56. I've seen four episodes; they're all good.
  57. CSI is not looking for a facsimile, so fans can rest assured that Fishburne will evolve into a unique and valued lead on his own.
  58. Terrific start to the 6th.
  59. Showtime lets them take their time to spin serpentine story lines, gradually pulling us deep into one very sticky, scary web of intrigue.
  60. Initial indications are good--the second season of Broad City may even exceed the first.
  61. Not a dull or wasted moment, and Lane may have just turned in the one of the best performances of her career.
  62. Nobody tries to be funny here, so they're more hysterical than the folks falling all over themselves elsewhere. They're simply hopeless specimens of spoiled humanity who haven't a clue how to operate in the real world. [2 Nov 2003, p.04]
    • Newsday
  63. 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.
  64. As real as real gets, invaluably adding human understanding to a hot-button topic.
  65. As with "The Avengers," Whedon's ear and sensibilities match the material perfectly.
  66. Quirky, funny, smart, wonderful acting, surprise cameos by cherished actors (Steve Harris, "The Practice"), and a one-two punch by Chandler and Britton that is unbeatable. What's not to love?
  67. The opener is absolutely superlative--a thing of real beauty, even elegance.... Berry delivers a performance that's surprisingly layered and nuanced.
  68. This is a spectacular new series, with some stunning performances--Pierce, Peters, Zahn, in particular--and gorgeous music.
  69. Taut, efficient and directed with a scalpel, Breaking Bad remains a marvel.
  70. Owner's Manual looks as sharp as you'd expect from cinematic-minded AMC -- whip-pans, slo-mo, montage, animations, infographics. Sounds great, too, with heart-pumping action music and industrial power sounds. Best of all, homework-doer Marcus (aka Sweet Cheeks) and scoffer Ed (or is that English Muffin?) are natural bicker-buds throughout, adding life and laughs to each half-hour that flies (or rolls) by.
  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]
    • Newsday
  72. The most brilliant and wild network program of the 1980s. [28 Apr 1988]
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  73. Character--as the old saying goes--is a long-standing habit, and their habits remain very much intact. The same could be could be said of Justified.
  74. Africa convincingly, emphatically, establishes that you ain't seen nothing yet.
  75. All very much and happily remains the same--and unless you are an absolute die-hard insane fan who will find something to complain about here ... there really isn't all that much to complain about whatsoever.
  76. All charm and smarts, the best new NBC comedy in a long time. A winner.
  77. McDormand will win an Emmy for this. Already, there's no contest.... Cholodenko's direction is masterful, and so is the bleakly funny script by Jane Anderson, but they clearly have a vision that is both part of--and separate from--the source material.
  78. This is often a stirring and deeply felt portrait of people in an extended state of crisis.
  79. Cumberbatch and star British producers Steven Moffat and Mark Gatiss ("Doctor Who") have performed quite a remarkable feat here--they've created something unique and pleasurable where so many have trod before.
  80. Sharper, smarter, more richly layered, detailed (and acted), Girls has improved upon its first season.
  81. Mad Men is back and back in all the right ways--the humor, the writing, the period details, and best of all, the flawless attention to these characters and their cluttered interior worlds.
  82. Had something special about it from the start: the mood, the writing, the acting. All the great series establish a mis-en-scene, a special environment that you can cut with a knife. I felt I was in a different place watching "Wiseguy." [30 May 1988]
    • Newsday
  83. True-blue fans will swoon. Everything they - you - love about this classic is laid out, banquet-like, Sunday night - the fashions, style, elegance, writing, characters, precision, beauty and most of all, the humor.
  84. Every character bursts with life here, in what may be the most fully realized show on TV. [13 Aug 2007]
    • Newsday
  85. This indisputably is Amazon Prime's “Orange Is the New Black.” That--believe me--is praise enough.
  86. 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.
    • Newsday
  87. Wolf Hall really is one of the great pleasures of the small screen this year, even if it doesn't initially make much of an effort (like Cromwell) to curry your favor. But stick with this one. The rewards are considerable.
  88. "Thirtysomething" was the best new drama last season, and it gets better with every episode. [13 Dec 1988]
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  89. The most wonderful show this year. ... The writing is only one of the miracles taking place in "The Wonder Years." What is so great about the show, and so different, is the conception of the kid and the acting by Fred Savage. [25 Dec 1988]
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  90. This is TV's best and brightest at the moment, and a wonderful tribute to New York's resurgent TV production industry.
  91. This second season has been marvelous. Now it's absolutely brilliant. [27 Nov 1989]
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  92. Felicity is the best drama of the year, a quality show of substance and intelligence, something worth watching. [28 Sept 1998, p.B23]
    • Newsday
  93. It's stunning for a TV mystery. It's actually mysterious. The mood, the characters, the surreal quality of how the story is told, are something different. It has a slow hypnotic movement, a style like a boxer in slo-mo. It hit me with tremendous energy and made me abandon despair at the state of TV mysteries. [5 Apr 1990]
    • Newsday
  94. Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.
  95. It's evocative, smartly structured, well acted and insists that the strange ride you are about to take will be worth every minute.
  96. 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.
  97. The show is fast-paced, crackling, choreographed like a comedy ballet. [20 Sep 1992]
    • Newsday
  98. At turns it's sad, poignant, bitter and funny (yes, more than enough turns in that direction).

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