Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?

Tough, occasionally oppressive, and--against all odds--still funny when least expected.

Get past the first episode — better yet, skip it — and "Bupkis" gets better and better.

A soul-deep sense of humanity grounds "Heroes."

Almost everything in The Wizard of Lies succeeds. The acting is impeccable, the script taut and Levinson’s direction scalpel-sharp. ... But what’s missing in Wizard is the why.

Honestly, it's a complete oddball with some charm and a few good lines.

Someone must believe the allure of "CSI" lies in its "look" - Cold Case also offers time-tripping flashbacks blending the past incident into present time - along with the behavioral "cool" of its central character. But even when William Petersen plays reserved, his "CSI" cop seems to be seething at his core. That suppressed fire makes him worth watching. Morris is barely an ember.

A sharp, introspective style — relying on disturbing ambient sounds, changing color gradients and consistent shifts to Dre's first-person perspective — allows for the audience to have a way in. And Fishback's performance, mysterious and unsettling while also tapping into measures of deep pain and sadness, completes the picture.

Stick with "Zoey." Get past the treacle, network cliches, and force-fed emotions, and it does improve. Earworms, too.

The result is something refreshingly new, and bafflingly different.

V has its fun moments, but mostly this is pure bunkum, or 1980s-era TV with a thin 2009 veneer.

Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.

It's a compelling, epic production with a strong central concept.

Film lovers will--possibly against their better judgment--love Jones' Hitch.

Interesting, engaging, worthwhile.

Comprehensive yet still incomplete, “The Case” gets entangled in the underbrush and can’t quite seem to find its way to either a conclusion or the truth.

Hairspray Live! is forgettable.

Does "The Office" proud.

This is an excellent remake featuring two actors--Caan and O'Loughlin--who almost seem made for each other.

No one wants this show to channel "24," but C-SPAN won't do either. For the most part, however, Madam Secretary charts a steady--and intelligent--middle course.

Ozark can be excruciatingly cumbersome. There are many moving parts, none compelled to move with haste. If the characters were more engaging and likable, pace might not even be an impediment. They’re not, so it is.

The cast is good, even excellent. But Perry's the one who sells Go On.

Steinfeld is good, the cast too and the show is not terrible either. What it's forgotten is that while we're all free to make Emily Dickinson into whoever we want, at least make her interesting. Emily deserves as much.

Over these 52 minutes, she hits 50 states, so of necessity the pace is brisk and to the point. You don't really get to know anybody, but a sea of faces from the Mideast to the Far East tell her of their hopes and dreams in short, sharp sound bites.

"Just Shoot Me" is Moliere compared to "Suddenly Susan" and producer Brillstein-Grey's other hit, "The Naked Truth." The writing is sharper, the targets in the worlds of fashion, journalism and TV news are hit more frequently, and it is funnier. [10 Mar 1997]

Often funny, engaging, and not nearly as complicated as it sounds, Dietland does grow progressively darker. This is a revenge fantasy, and with Marti Noxon at the helm, both “dark” and “funny” come with the territory.

Strictly fan service, but fans will love it.

No teeth, no energy, no fun, this Vanity Fair can occasionally feel like a homework assignment.