Sure, it’s understandable that CMT wants to make the mini series interesting to non-music fans, but a little more music is what would take Sun Records from good to great.

The weirdness is welcome, the concept has merit, but the execution leaves a lot to be desired.

A true rarity — a sharply drawn portrait of local journalism.

Stallone desperately needs collaborators who understand how to get the most out of him. He finds that here.

As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."

Proceed with caution into this foul but funny cauldron of catastrophe.

Nothing much new here (based on the first hour), but Remini appears resolute, tough-talking and potentially formidable.

Family is a trifle--part comic book, part kids' show--that is perfectly pleasant but without edge, bite or dramatic heft. With Chiklis aboard, it's like witnessing a concert pianist execute an elaborate version of "Chopsticks."

Who is he? Who-who, who-who? I really want to know. But I don't think I want to sit through four or five episodes, let alone a season or two, to find out. [20 Sept 2002]

It's one tasty piece of lunacy.

It's all a bit much in Monday's opener, and yet I suspect that, like the $400 shirts and luxury ride of Dennis Farina's "Law & Order" character, which initially came across as contrast run amok, Deputy Chief Johnson's contrived personality excesses will fade with time. And what will be left is a compelling character in a solid show - not a tradition-buster like FX's "The Shield" but probably a broader-based hit. [12 Jun 2005]

What's missing is passion, joy and (ultimately) interest.

What's wrong here are some of the same elements that have made the 2013-14 network comedy crop one of the weakest in memory--not enough laughs, not enough of a show that feels like it has something interesting to say (and wants to say it).

As genre satire, Spoils is amusing. As film study, it's informative. As a viewing experience? Uneven: Sometimes funny, a little more often not.

Hall lacks Walken's natural aura of strangeness, and he looks a little too well-fed for a guy who has been vegetating for half a decade. But he does manage to make Smith credible and sympathetic. [14 June 2002, p.B51]

"Chad" has something no other show possibly could, and that's Pedrad's unique comic style. ... Easy winner.

A rich character drama and riveting suspenser that makes Fox's "24" seem lackluster.

Screenwriter Peter Filardi ("The Craft") and director Mikael Salomon (HBO's "Band of Brothers") have defied the odds, delivering a four-hour, two-night version of King's vampire-infestation parable that ranks with the best filming of his work. It has genuinely scary parts, which is rare enough in video- King, but it's also perfectly in tune with his mordant sense of humor. Wickedly funny lines are scattered throughout Filardi's script. [20 June 2004, p.11]

The feel is more documentary than "reality" show, which some viewers will appreciate and others won't.

As the light of democracy dims, Carrie has become more manic (understandable), and Saul more resolute. The world has turned upside down, and only they can set it right. We know they’ll eventually save the presidency, hopefully the president, too. We know real news will eventually prevail over O’Keefe’s incendiary fake variety. We know all this, but we also suspect the ride would be a lot more fun if Peter was along for it.

A baffling, beautiful, maddening, provocative puzzle.

It is merely OK--not quite tricky enough to satisfy the hard-core geeks, not quite mindless enough to satisfy someone who just wants to watch the tube and forget a long day. But it is tricky, with at least one interesting twist.

A sharply written, acted and directed start that will hook fans immediately.

The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.

Just about everything worked, and worked well, from the opening credits to the final ones. The energy and beauty of New York City was incorporated in a way that exceeded even my expectations--happily exceeded them. Meanwhile, The host: A bit nervous, understandably, he nonetheless reminded fans and people who have never heard of him why he's here.

Fascinating documentary--and extremely effective commercial.

The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.

A lethargic procedural is brightened by a good cast.