Fresh Off the Boat is charming, convivial, even--gasp--at times cute.

"Without a Trace" is about the work, about the puzzle. If you want the untidy cop stuff, stick with "NYPD Blue." [26 Sep 2002]

There are three excellent reasons--Milch, Mann and Hoffman--why your faith will be rewarded.

It's smartly acted, well written, funny, expertly directed and hugely entertaining. And utterly, totally, profoundly devoid of pretension.

By dint of smart casting, imaginative challenges and A-list guests, Top Chef retains its three stars for culinary entertainment.

What's here is pitch-perfect - the fear, loss, emotional devastation and, peculiar to this disease, silence.

The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.

He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]

A well-produced film that is ultimately more painful than conclusive.

[Midge] needs to grow, or at least her stand-up routine does beyond the tame gags about her ex-husband or Jewsih guilt. Those remain the weakest part of "Maisel." ... These early episodes do certainly play to "Maisel's" considerable and well-established strengths. They're a romp through the English language, abetted by actors who remain effortlessly up to the challenge. As always, the writing and those performances are still what resonate, and they're just about flawless

Magnificent.

TV's pre-eminent people-watching pleasure.

Another fine Le Carré adaptation but not quite as fun as 2016's "The Night Manager."

There's a wonderful cast here... There's even an intriguing core idea... But the show also feels phony from beginning to end.

The Conners skillfully picks up where "Roseanne" left off and even manages to improve on the predecessor.

More of a fan-pleaser than crowd pleaser. ... So yes — absolutely — well worth the wait.

A series that can still be occasionally talky and turgid.... Hardwick's the better and smoother actor, and certainly the more appealing one. But it's Jackson who gives this show bite and--to a considerable degree--life, too.

Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.

The Japanese cast is excellent, especially Adelstein's newsroom boss Eimi (Rinko Kikuchi), but Elgort's Adelstein never quite comes into focus himself. There's a lot of energy in the performance but almost no substance. As a result, his Adelstein recedes while the foreground is commanded by the true star here. That's almost — just not quite — enough.

The show's crisp, witty dialogue is mostly egalitarian among the ages, and everyone's great at working the words.

They know how to nail situations/characters, while snappy edits cull fluff, leaving only comic gold.

Veep is the single most improved series on television.

It’s an unconventional love story that needs another season to figure out what it really wants to be, and how best to get there. At least the most important elements--or both of them, anyway--are in place.

Grease: Live was maybe not a slam dunk, but nevertheless was the crowd pleaser it deserves to be and so often has been.

In the end, don't much like Ray Donovan.... [But] Donovan ultimately succeeds on the little things--some very good performances by some very good actors and sharp dialogue by Biderman, who knows how to write Tough Guy talk with the best of them.

A Year in the Life is a triumph. ... A sweet, sad, sentimental and (above all) joyous return to Stars Hollow.

How to honor the memory of a beloved is its theme, or one of them. You can't get much more universal than that. Fine newcomer with excellent cast, and some universal themes.

Its hasty pace frequently muddles precisely who's who where, when or why. Even the zippy sex scenes play like another gratuitous burst of firepower.