The show's repetitive voice-overs are annoying. But you'll be sucked into this dangerous venture.

Dead is always at its most unsettling--and poignant--when its characters have a moment to breathe and to address their dark, nightmarish world.

Finally there’s something fun to binge and share with friends.

King, Cudlitz and McKenzie carry this drama, in note-perfect peformances. They make Southland a worthy part of your Tuesday night stakeout.

In true Bluth fashion, what you think you know about the Bluths you don’t know at all.

The film is mostly a dance between Dinklage (also an executive producer here) and Dornan, who rises to the occasion and gives the best performance of his career as a man struggling to hang on to his sobriety even as he’s dragged through a hell of Los Angeles.

Unlike most movie-inspired TV series - in which the TV version is usually a soggier incarnation of its movie original - this Buffy, created by Joss Whedon, an Oscar nominee for his "Toy Story" script, fulfills some of the promise sorely lacking in the 1992 big-screen version. [10 Mar 1997, p.32]

Trust at times seems about as factually accurate as the “B.C.” comic strip, and Boyle’s visual affectations and his over-reliance on split-screens do not always serve the story well. (He directed the first three episodes.) .. Whatever Trust’s hold on the facts, it more than makes up for in its performances.

A star arose during NBC’s Jesus Christ Superstar: Live in Concert last night. No, not singer John Legend, though he did grow into his part as the son of God in this adaptation of the Andrew Lloyd Webber rock opera, and not pop star Sara Bareilles, who was technically sound as Mary Magdalene but never seemed to find her heart. Broadway veteran Brandon Victor Dixon stole the show as Judas.

The staging was clever and fun and the performances ranged from good to fantastic.

The three-hour production got off to a shaky start with camera work in the 1959-set Rydell High seemingly ready to trigger mass vertigo. But by the time the cast got to “Greased Lightnin’,” a frenetic dance number that kept building and growing so much, it threatened to spill out onto your floor, the show was rocking.

When Jackie snaps over one patient's plight, she could be speaking for impatient viewers: "People gotta stop trying to save people who don't want to be saved." Same goes for TV characters stuck in the same shtick.

Mr. Robot is like a computer virus that will worm its way into your consciousness if you’re not careful.

Penny Dreadful’s set work is unparalleled, and this season the bright oranges and yellows of the Old West make for a welcome contrast to the washed-out blues and grays of Old London. Oh, there is action here.

The sets and costuming are top-notch. The musical score is brash, if redundant. The personal dramas range from silly to 
diverting.

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

Primeval (which has already been renewed for a fifth season) doesn't ask you to think, just to enjoy the mayhem that follows when a rampaging behemoth is set loose anywhere in the United Kingdom. It's hard to find fault with a formula like that.

With its frantic pacing, ­vicious masterminds and ­valiant law enforcement agents, Crisis might remind you of Fox’s “24.” Not the best seasons of “24,” but still. There’s a lot to be said for a show that works up a sweat trying to surprise you.

As an actress, Lady Gaga wears clothes very well. That’s not the dis it seems. The extended 90-minute premiere doesn’t give her much chance to act, or speak, for that matter.... As Dr. Alex Lowe, John’s estranged wife, returning player Chloe Sevigny provides a welcome balance to the over-the-top bloodletting, but as good as she is, the bad soap opera dialogue just proves Murphy and Falchuk have no interest in writing “normal,” whatever that is. They’re here to deliver spectacle.

The castmates aren't polished performers, but they know how to work a joke fast and move on. [4 Aug 2005]

The show runs rampant with rapid-fire dialogue and sly pop-culture references. The cast is strong.

The dark tone might be the greatest barrier at first to viewers, but the cast rolls with the wisecracks.

Boardwalk shows no signs of losing its identity. All signs point to a bloody proper finish.

While often touching, it's a lightweight addition to HBO's schedule.

The six-episode series mixes this type of sharp -humor and dialogue with gory scenes and tense horror.

The original “Roots” exposed and drew on the power of truth for millions of Americans. This Roots is an echo of that. It stands small in the great shadow of the original.

Give Lost Girl a try. You might be seduced.

Longmire isn't a conventional show. The mystery tonight might be slight, but the pilot is a dusty little gem.