Opens promisingly with a storyline that sets up a compelling premise for a serial adventure ... [but] is so visually arresting that the humanoid characters are upstaged. [14 Mar 1999]

It's not as remarkable as [the previous versions], but it beats most of the weekly crime dramas running opposite it this week. [25 Jan 2004]

Maybe just crazy enough to be engaging in the early going. It's the long run that looks questionable.

But the best stuff easily reminded true blue fans--and only true blue fans--why they loved this so deeply to begin with.

A stylish, intelligent production.

Sorry, not as good as “O.J.,” but Criss turns in a dynamic performance in service of a desperately sad story.

The 10 hours of PBS' immersive miniseries Carrier are frank and intimate, hard-hitting and heart-rending, rocking (with hit songs) and rolling (when the ship pitches so sharply, planes can't land).

CSI is not looking for a facsimile, so fans can rest assured that Fishburne will evolve into a unique and valued lead on his own.

With a visual sensibility that mimics a video game, Web browser and iPhone, as well as a hearty online presence with a social-networking bent, the new Electric Company seems to deliver.

Producer Beers' team is the gold standard in male-aimed reality, and these guys have grit to burn.

This three-parter often lacks finesse and sophistication. The story is rushed or clumsily told, and the tone discordant....Watch for Atkins only. She's brilliant.

This is four hours of love and music, but the film also wants to address the many controversies, then excuse them. The result: Some lily-gilding, and far too many observations we've heard far too many times before and factoids, too.

The real-world intrigue is matched in dramatic flair by Chuck-world jeopardy. His store's fierce assistant-manager competition resounds as fatefully as saving the universe from evil. Which makes the dark light enough and the light dark enough to meld into a tasty escapist treat.

A compelling series in fits and starts that doesn't amount to much more than a trip through an extremely strange world filled with extremely strange people.

What's good about "Loki'' is what was so good about the other Disney Plus "Endgame" spinoffs, "WandaVision'' and "The Falcon and the Winter Soldier." You don't need to be a Marvel expert, or know that Frigga was his mother, or that he had (has?) mother issues. ... This Loki, and those worlds, those mothers, look intriguing indeed. Loki fans will be much pleased.

Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.

Bryant's a standout, the show not so much.

Watching Seinfeld knock out the oldies-but-goldies is indeed watching someone do what they were born to do. He’s a master technician who cuts through the material at a high rate of speed, while using pantomime to fill in the blanks or give the punchline a steroid boost.

It’s great have an old friend back, even better to see he’s still the best part of his own joke. It’s also reasonable to wonder whether that joke has grown just a little bit stale.

Humans vs. cyborgs in a movie spin-off that's surprisingly effective for fans of both action and character drama.

Smart, engaging, thoroughly updated.

The acting is first-rate, and so is the writing, but the violence is appalling, and not just appalling, but creatively appalling.

Nip/Tuck is all about appearances, but it also has something to say. [21 June 2004, p.C01]

You'll be happy to know that every second -- particularly every second with Sedgwick onscreen -- is pretty much a joy.

Bunheads seems to know exactly what it's doing.

Relatable, but especially enjoyable.

Episodes is flawless and hilarious. What a pity it lasts only seven episodes.

Arli$$ is character comedy. The humor comes out of the characters, the relationships and their work. It rings true all the time. [7 Aug 1996, p.B65]