I like Gary Unmarried. It’s like other sitcoms I’ve seen of late involving newly broken-up households (remember when the sitcom single dad was widowed instead of divorced?).

A year after the Rosie Larsen case ended, this new chapter is compelling enough to earn some fan forgiveness.

A gripping, one-of-a-kind drama.

The show is entertaining enough, but the American Hood, played by Rufus Sewell, won't remind anyone of Patrick Stewart.

Some critics called the book incisive and addictive, while others dismissed it as pulpy and juvenile. Under the Dome checks all those boxes in Monday’s pilot episode.

If Grey's Anatomy falls short of being the next "ER," it's because it's too slickly produced. It comes with the kind of heart-tugging music and exquisitely lighted contemplative moments you might expect to see on, say, "The O.C." But the writing and acting, if not the staging, helped pull me through surgery. [26 March 2005, p.E3]

No one will mistake this for cutting-edge comedy but it is well-cast (especially Lithgow) and good-natured enough to please most viewers. [8 Jan 1996]

After a nine-month hiatus, one of the best new shows of last season returns from the undead with a bit more of the deviled edge that made it so great when it first emerged from the crypt in the fall of 2007.

Sleek, action-packed and heavy on the acting talent.

Death Comes to Pemberley, on paper and the small screen, is not as satisfying as a newly discovered Austen novel would be.

Angela Lansbury's Jessica Fletcher may not captivate like Peter Falk's Columbo, but she'll do quite nicely until something better comes along. [28 Sep 1984, p.2B]

An entertainingly raunchy spoof of reality TV. [23 Jul 2003]

Surprise! It’s not nearly as bad as I thought.

The pilot is plodding at times, the result of a few too many heart-to-heart discussions among the characters. Still, Williams, Holliday and Heard create such fresh, memorable characters that it's impossible to get bored. [16 Sept 1995, p.E7]

There is a distinctly 2002 feel to this season of 24....But you know what? It all manages to hold together.

It’s a pleasure to watch Bean fall into his “legends,” or fake identities, even as the show pushes the boundaries of what TV audiences might accept when it comes to instantaneous computer heroics.

Fringe does a pretty nifty job of balancing the demands of the paranormal genre against the viewer’s need for some comic relief.

Carey, a stand-up comedy veteran, has great timing and expression. It's easy to relate to his working-class persona. Now if someone could just make his friends a little funnier, "Drew Carey" could be a winner. [13 Sep 1995]

Thanks to the fact that Starz is pay cable and can say and show pretty much whatever it wants, this show ramps up the dramatic tension quickly and effectively.

Compelling if not entirely satisfying. [29 Oct 2002]

The latest re-imagining of Daniel Defoe’s classic tale of a man shipwrecked on an island far from home has already earned its keep.

Of all the new mystery-driven dramas aspiring to be this year’s “Lost”... “Invasion” is the most absorbing and least hokey.

In other words, don’t hate it immediately just because it isn’t “Curb,” because if you love “Curb” you might eventually like Bored to Death.

A good, potentially great, show.

It’s not near HBO quality but certainly better than that “Sleeper Cell” tripe that Showtime put on last year.

Heche really shines in this role.

The constant toing-and-froing of “Mrs. Harris” might have gotten tiresome, as an earlier HBO effort at revisionist biography, “The Life and Death of Peter Sellers,” did. Bening, though, is somehow able to conjure up a completely new mood for each time and setting.

Once you get beyond the show’s homages, both to 1970s style and “Desperate Housewives,” this proves to be a groovy little summer soap opera.