Monday’s premiere was one of the most nearly perfect half-hours of television I’ve ever seen.... [But] I can’t imagine tuning in “The Colbert Report” four nights a week just to watch a caricature.

You will regret tuning in even a minute late for the premiere.

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.

This is one smart, funny comedy that deserves better than the anemic time slot it’s getting.

As someone who’s on the fence about Silverman — I get what she’s doing, but I’m not sure it’s worth the adoration it often receives — I found myself chuckling more when I went through my notes on the first two shows than when I was watching them.

There’s no doubt Life is blessed with a fine lead actor, an intriguing premise and better writing than most new shows this fall. It’s just that viewers aren’t going to find that promising TV drama buried underneath all the crime procedural.

Unfortunately, whoever developed this show couldn't trust the audience to accept Piper Perabo's character as strong enough to get out of a pickle or two without male intervention. I won't reveal how, because the first episode is otherwise very enjoyable, thanks to a solid supporting cast including "O.C." dad Peter Gallagher, Kari Matchett and former WB/UPN heartthrob Christopher Gorham.

A violent, hair-raising combo of “The Ring,” “War of the Worlds” and “Invasion of the Body Snatchers,” with a dash of official conspiracy.

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]

My hope is that True Blood will get all of this tub-thumping out of the way in a few weeks and start its tremendous potential as an ensemble drama with hints of comedy.

I think “Survivors” is going to have a hard time getting noticed, not just because BBC America is way up there on digital cable, but because the hoopla surrounding the end of “Lost” is unrelenting, and “Survivors” just hasn’t done anything to break through.

Each person in the ensemble is distinct and intriguing. This show is loaded with possibilities.[20 Sept 2002, p.E1]

The Lost Valentine ultimately succeeds for two reasons: It is an engaging if somewhat convoluted little yarn. And White takes emotional command of the movie.

Queer as Folk obviously has a healthy libido. It'd sure be nice to discover it has a heart, too. [2 Dec 2000, p.E5]

The comedy has a loose, improvisational feel to it, but is still pretty fast-paced. And the four characters are at their funniest just in the room alone, swapping lines with each other, an experience a lot of dudes in their 20s can relate to... or so I’m told.

It is a stew made from a teen-slasher base with chunks of prime-time CBS crime shows and some daytime spice stirred in. If the first six minutes work for you, you’ll probably want more.

Gunn and Tennant are flat-out fantastic in Gracepoint. The supporting cast, including Nick Nolte at maximum haggard levels, is compelling. They’re so good, it might take a while to notice that you’ve seen this story before, even if you haven’t seen “Broadchurch.”

Worst Week is Rube Goldberg meets Murphy’s Law meets the parents. And it’s hysterical.

This comedy is set in a paper-supply sales office where people seem to work hardest at finding ways to kill time. I must say that it was an extremely realistic presentation: While watching the program, I kept looking at the clock and longing for it to be over so I could go home. [24 Mar 2005, p.E6]

Hilarious, delightful and smart... "Eureka" may have the gumption to become the best sci-fi show since the late lamented “Farscape.”

It is Mr. Willis who elevates the show from good viewing to outstanding entertainment. [03 Mar 1985, p.3K]

While its premise isn’t new--anyone remember “Total Recall 2070” or “Mann and Machine”?--the show’s ambition, solid cast and pure production values make it a worthwhile diversion.

It works because the three regulars--Zach Braff, Donald Faison and especially John McGinley--are all over these episodes, and the four newcomers are kept in their place.

The Slap is rare TV, depicting the kind of drama viewers might find themselves caught up in. It’s nice to see a show shamelessly go about doing its manipulative business.

A contrived and predictable drama in military dress. [23 Sep 1995]

The Following, compelling and frustrating from its opening credits, sets viewers up for a season-long, blood-soaked rematch between an evil intellectual and his law-enforcement nemesis.

Smartly written and utterly fantastic. [20 Jan 1998, p.E10]

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]