Newsday's Scores

  • TV
For 1,323 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 3.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 Murphy Brown: Season 2
Lowest review score: 0 The Choice: Season 1
Score distribution:
  1. Mixed: 0 out of 865
  2. Negative: 0 out of 865
865 tv reviews
  1. Corden clearly appears to have the goods.... Most importantly, he has an obvious ability to perform bits that'll hold up in the cold light of dawn, or more specifically on the Internet.
  2. About a Boy yearns to be good. Yet it relishes being bad. And Katims--guiding hand to "Parenthood" and "Friday Night Lights"--doesn't fess up to that dichotomy.
  3. A rare and almost totally unexpected triumph.
  4. I think I comprise a third type--a wary Weeds fan who's happy it's back but hardly ecstatic.
  5. Grim, but a chance to see two magnificent actors at the peak of their powers.
  6. It aims for epic, and sometimes hits epic--but it's a bit shallow.
  7. While we've got to be grateful that last season's tone-deaf Applewhite saga has seen its end, this year's "DH" still is sounding the occasional flat note, sometimes by repeating its past and other times by ignoring it altogether. [22 Sep 2006]
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  8. Method makes a solid case for Lewis as underappreciated auteur.
  9. Four immensely enjoyable hours. Alas, I can't speak to what happens during the remaining 20.
  10. If only the delicacy of these two character actors [Alfred Molina and Michael Keaton], were matched by that of The Company's central figures and the production's overall arc.
  11. Brush aside the hyperactivity and hard sell, and you're left with a winner.
  12. Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.
  13. The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.
  14. It's also one of those shows composed of such familiar ingredients, it already feels like a rerun. [22 Sept 2003, p.B02]
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  15. Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?
  16. A soul-deep sense of humanity grounds "Heroes."
  17. Honestly, it's a complete oddball with some charm and a few good lines.
  18. Someone must believe the allure of "CSI" lies in its "look" - Cold Case also offers time-tripping flashbacks blending the past incident into present time - along with the behavioral "cool" of its central character. But even when William Petersen plays reserved, his "CSI" cop seems to be seething at his core. That suppressed fire makes him worth watching. Morris is barely an ember.
  19. The result is something refreshingly new, and bafflingly different.
  20. V has its fun moments, but mostly this is pure bunkum, or 1980s-era TV with a thin 2009 veneer.
  21. Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.
  22. Film lovers will--possibly against their better judgment--love Jones' Hitch.
  23. Interesting, engaging, worthwhile.
  24. This is an excellent remake featuring two actors--Caan and O'Loughlin--who almost seem made for each other.
  25. No one wants this show to channel "24," but C-SPAN won't do either. For the most part, however, Madam Secretary charts a steady--and intelligent--middle course.
  26. The cast is good, even excellent. But Perry's the one who sells Go On.
  27. Over these 52 minutes, she hits 50 states, so of necessity the pace is brisk and to the point. You don't really get to know anybody, but a sea of faces from the Mideast to the Far East tell her of their hopes and dreams in short, sharp sound bites.
  28. "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]
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  29. 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.
  30. 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?
  31. The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.
  32. Some brief memorable performances, particularly Cusack as a tippling housewife. Otherwise, an inexplicable misfire.
  33. The Red Road demands patience, but from what I've seen, it strongly suggests that will be rewarded.
  34. The acting is solid all around--just not entirely convincing.
  35. 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.
  36. If you love Zooey Deschanel, this one's for you. If not, a pass.
  37. 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.
  38. 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.
  39. This is almost too clever, funny and ironic for MTV.
  40. Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.
  41. Thin, flavorless high school gruel, but the lead bad boy is intriguing.
  42. A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."
  43. 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.
  44. We've just seen this stuff too many times. Merely changing script specifics to Olympic references doesn't make it fresh.
  45. 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.
  46. Falco--as always--remains one of TV's bright shining lights, but her Nurse Jackie suddenly feels like a work in progress.
  47. 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]
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  48. 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]
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  49. It's a cut above boilerplate, with good production values and decent performances.
  50. Even if we are being taken for a ride, there's so much to savor on this trip. [12 Sep 2003]
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  51. 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.
  52. The show is an old-fashioned courtroom procedural, but the pilot has enough sharp writing and well-greased plot twists to suggest future promise.
  53. Good newcomer that gets even better in the weeks ahead.
  54. The River still has a quirkily eccentric charm. It's just so deliciously odd.
  55. The formula--must find murderer of beautiful woman before last commercial break--predates the dinosaurs, but also incorporates some satisfying twists.
  56. 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.
  57. 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).
  58. 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."
  59. Proceed with caution into this foul but funny cauldron of catastrophe.
  60. 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."
  61. 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]
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  62. It's one tasty piece of lunacy.
  63. 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]
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  64. What's missing is passion, joy and (ultimately) interest.
  65. 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).
  66. 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]
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  67. A rich character drama and riveting suspenser that makes Fox's "24" seem lackluster.
  68. The feel is more documentary than "reality" show, which some viewers will appreciate and others won't.
  69. A baffling, beautiful, maddening, provocative puzzle.
  70. A sharply written, acted and directed start that will hook fans immediately.
  71. The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.
  72. 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.
  73. Fascinating documentary--and extremely effective commercial.
  74. The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.
  75. 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.
  76. A fun show, but where, oh where is all this heading?
  77. Asylum has some good special effects, just not much of a story to hang them on.
  78. 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.
  79. 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).
  80. 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.
  81. First impression of the third season is a good one.
  82. Bible Challenge tries to cover all bases in America's complicated Christian field.
  83. 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]
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    • 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]
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  84. It's hilarious, and sad, and ironic, and rich.
  85. It's OK, but not great. [20 Sep 1993]
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  86. Magic City--on paper, not on screen--remains a compelling idea in search of great execution.
  87. 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.
  88. 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]
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  89. 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.
  90. 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.
  91. 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.
  92. The results so far are very (very) funny.
  93. Unfortunately, they've settled on far-too-easy and facile answers for the most part.
  94. Anyone who wants to take a walk on the wild side and lose an appetite in the process, your show has arrived.
  95. Smart. [23 Aug 1998, p.D10]
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  96. A well-rounded, nicely mature comedy.
  97. 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]
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  98. 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.

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