Now this show plays like a cross between any generic CBS crime procedural and the network's "Bones." Human Target needs a course correction.

The weird, creepy comedy about the world of a struggling copy writer from her dog’s perspective. ... Three episodes of this show and I was fantasizing about dropping this flea bag off at a shelter and speeding away. Oh, some of the bipeds here are endearing, when they get their moments.

There may be fewer jump scares, but this could turn out to be the best Horror Story.

Contrary to the title, you can trust the B---- for a good laugh.

There’s something hilarious and twisted about outcasts running a school and turning out to be as much idiots as the typically popular kids. Faking It is the real deal.

There’s so much [music] here, Vinyl runs the risk of turning into “Treme,” which seemed to be a music show with a touch of plot. Vinyl spins back years with copious flashbacks, and they do Cannavale and the show no favors. No matter the year, no matter how his hair is parted, he looks the same, a middle-aged guy. Some things can’t be finessed.

Looking: The Movie is pointless and boring.

Sisto is surprisingly sweet as a befuddled dad. Everyone seems to want the next Emma Stone. Levy isn't there yet, but given time she might grow into a solid comic actress.

The production values are exceedingly high, and you could find worse excuses to stay up past your bedtime. [12 July 2006, p.038]

Carter’s journey is rushed. If the show just pumped the brakes a bit, it might discover a heart worth following.

Legit is the sort of comedy that lets its heart beat once an episode.

Fimmel has an odd charisma as a barbarian who sees nothing wrong with butchering a group of unarmed, cowering men. But much of the supporting cast is problematic--either­ the actors just aren’t up to the work or the characters are underwritten.

If the show can cut down on crime and focus more on the squad room silliness, Brooklyn Nine-Nine has a chance of getting past probation.

The uneven 10-episode series shifts from pedestrian cloak-and-dagger to camp.

When “Catch-22” takes to the skies, it soars. The aerial sequences are some of the best visuals seen in any TV production, beautiful and terrifying.

There were moments when I wanted to give up on Penny Dreadful. Then there is the ending of the second episode--a horrific jolt that changes everything you thought you knew about one character--and, well, I can’t wait to see what happens next.

Don't look now, but Falling Skies could be a summer obsession.

The X Factor is "America's Got Talent" with lockjaw, "The Voice" with a smoker's hack and "American Idol" on steroids. It is a garish, crass spectacle, and just might produce America's next superstar.

"The Chronicle" seems to want to have as much fun with its stories as its viewers. [12 Jul 2001]

Wahlberg, a favorite here, needs to avoid David Caruso Syndrome. There's a bit too much posturing with the furrowed brow and hand-on-the-hip that has made a caricature of that "CSI: Miami" star. Moynahan is solid as the assistant district attorney, but her character's lefty politics seem at odds with her occupation and her family.....But Selleck as the bad guy in his own show? It almost makes you want to dial 911.

24 is as much a thrill ride as ever.

Face Off hews so much to the Runway formula, it practically falls over and busts a lip, but at least the pacing is fast.

The freak-show rounds, a staple of Idol’s early weeks, have been reduced to a couple of montages and the random weirdo.... Of the three judges, Connick is the harshest, a Simon Cowell without the snark or the malice.

Saints & Strangers is rich in character and detail and captures how arduous this adventure was for the pilgrims.

The eight-episode season (streaming tomorrow on Netflix) doesn’t always make sense and yet it does enough things right--especially in the depiction of naive, impetuous adolescents--that it casts a convincing spell.

Succession makes it clear that the Roys are not especially nice people. They are also, alas, not especially fascinating. Pink slips for everyone.

It's as though Levinson and Fontana decided to throw everything onscreen that they're not allowed to show on broadcast television. But pushing the boundaries doesn't make Oz better or more realistic than "Homicide." If anything, it infringes on the storytelling. It's one thing to shock viewers for the sake of drama, quite another to frighten them into worrying about what visual affront to their senses will pop up next...If you can get past all that, Oz does tell some intensely interesting tales about life in a modern maximum-security prison, stories vastly different from the ones used in the average prison movie or cop show. [11 July 1997, p.47]

Lodge 49 is different. That alone isn’t enough reason to book a visit.