As a viewing experience, Greenleaf is absorbing, hardly pulse-quickening.

In blunt and at times salty language, Bush gets to say exactly what 9/11 meant to him; it's visceral but only occasionally revelatory. We all know this story very well. Maybe too well.

Yes, there have been some valid questions about TV's recent embrace of the serial. (Too many? Will people stay tuned?) "Kidnapped" feels so fresh that viewers won't even care.

A grabber from the start, quickly moving beyond the sci-fi label to uncharted drama territory. Its tale - executive produced by Francis Ford Coppola - takes place on Earth and in the present day, which should help attract sci-fi-resistant viewers. Even better, its situations are viscerally relatable, hardly as removed from our daily lives as so many other out-there allegories. [11 July 2004, p.11]

The first two episodes promise a contemplative sixth as opposed to a shock-and-awe one.

Fans will love every minute--especially Roman's fate.

Trade press has labeled this "'Easy Rider' Meets 'The Sopranos,'" which seems apt. Show comes from Kurt Sutter, longtime co-executive producer of "The Shield" (and married to Sagal) so that should give you a sense of tone and texture - violent, taut, well written.

Initially sullen and bitter, Kidding improves as it goes along. At the very least, you get used to Jim Carrey as an ersatz Fred Rogers.

Violent and dull.

Dinklage turns in a fine performance, but his passion project is otherwise a standard-issue biopic.

Fans will love Tuesday night's supersized launch. I'm just limp and weary from it all.

Baskets builds into a character-study treasure, much like FX precursor “Louie.”

The new series' production values are impeccable, its cast is solid, and there are occasional moments of fresh, specific detail that suggest the show could transcend the overstuffed pilot episode. [27 Sep 2002]

A loving portrait of a lady--but who probably would be just as happy not to have this or any portrait at all.

It's still the Meredere (or Deremere) show, and Cristina's right. It's just ... so ... over.

Come for that view, and this cast, and Fellowes' peerless talent for world-building — or at least a to-the-manor-born world. Don't come for any fresh insights into the American character. This is mostly fantasy, not a history lesson.

Exhaustive without ever being quite comprehensive, "Death" is still a solid, sane overview.

The rigid adherence to the recurring segments means Animal, Fozzie Bear and many other staples barely show up, while a lot of attention is paid to the rather unsettling "Okey Dokey Kookin," in which the turkey host gobbles excitedly over dishes featuring chicken and pork and the Swedish Chef wraps a Muppet mole (yes, the mammal) in a tortilla.

A mostly promising start, with some unpromising distractions.

A dull slog through L.A. noir.

The pilot is ingenious but at moments maybe a little too smart for its own good.

Like all anthologies, some hours are better than others (but most of these are good), and what Dreams lacks in razzle-dazzle, it makes up for in brains.

Because Kominsky is so blue and so tin-eared, when it tries to draw close to anything resembling real human emotion, it emotionally founders then sinks without a trace. ... Creaky and leaky.

"Flight of the Conchords" isn't brilliant, but it isn't awful, either, just familiar, with two likable stars who seem to be channeling the deadpan dry wit of an old Beatles movie.

The show ambles along without getting viewers to particularly care about Alex or Pete. Without that requisite electricity, they're hollow, or just sad.

Amusing, odd, fascinating, indulgent and not quite as funny as you might expect, or hope.

There's substance in Jill with hubby Andy and with her doctor best friend (comic KK Glick, a Huntington native), all proving levelheaded and likable. That helps leaven the snooty stereotypes of our initial path into Jill's world.