If you can see the forest through the trees, it's good, wearable fashion that's the real "fashion star" on this show, and it gives viewers an unusual glimpse into the world of retail despite all the superfluous hoopla.

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.

So, what about the human intrigue of partner interaction, coordination and strategizing? That gets a bit of short shrift in favor of more blood (leaking hydraulic fluid) and guts (flying sparks and parts).

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

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

Where all this ends up, you already know. But at least Unsolved does a good job of making you care about the failure. Engaging, interesting, watchable.

As indictments go, Going Clear is relentless and effective. But fair and balanced? That's another question--or maybe that's an issue.

It's Eddie Murphy, launching the season in Episode 1, who leaves the biggest impression. ... Affable entertainment and the occasional candid moment from Seinfeld and friends.

As episodes unfold, the relationships resonate, and the characters run deeper.

As a viewing experience, "Grant" is often engaging. While the docudrama dialogue can be clunky — the common fault of these things — the battle scenes are much better. ... Salinger's ("Ripper Street") Grant is good too. His eyes capture what Grant must have felt: Unbearable sadness yoked to ironclad resolution. A winner.

Mostly for the die-hard Seinfeld (and "Comedians") fan, these are more often about the guy who picks up the check than about his guests. But at their best, they're--what else?--funny.

Even if you aren’t part of the “Wet Hot American Summer” cult, this series should provide plenty of goofy, gonzo fun.

The movie was about the sex. The series is about the work. Differences are enormous, also welcome. The series is also far more confident--understandable insofar as Lee was just starting out back then--but confidence helps the still-slight story.

Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.

The Lottery, with otherwise sage setup and promising performances, merits its own shot at something great.

So far no amnesia bouts or cougar attacks. And no Kim! [9 Jan 2005]

"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]

There's warmth and wit there, along with not a little magic.

A breath of cold, bracing and - bless it - fresh air. Eisner's fable is dark, almost impenetrably so, though skillfully rendered. Best of all, nothing here has ever been performed on reality TV, the best I can tell.

In the world of reality shows, this well-produced series is better than most. Betwixt and between all the emotional upheavals and drama, Coffey, only slightly witchy, dishes out sound advice.

The material is high in laugh content, but sometimes the handy wonders of animation tempt the makers of "Dr. Katz" to illustrate jokes unnecessarily. [28 May 1995]

The best thing about "Free Ride" is the lack of pressure to be about something. Trusting its talented cast to embody their own truths, it ambles and weaves, leaving space for the characters, even folks briefly bumped into, to nail a specific attitude or situation.

Lacks the hard, uncomfortable edges of [FX's also premiering] "Starved," but it's clear this show wants and intends to do a little damage, too. [4 Aug 2005]

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

Watch the first few minutes of "The Class" in its CBS sitcom debut tonight, and you may not believe me when I say this, but here goes. I think they might have something here.

We're happy to see a multigenerational sitcom, and the pilot has some nice writing. But the effort feels somehow strained. Though stage veteran Byrne has charisma, he's hardly a sitcom natural. So maybe that's the point. A sitcom that doesn't behave like one. Hope springs eternal. [6 Oct 2000, p.B51]

It's daring, disconcerting and/or enlightening.

Many viewers will find its satire way over the line, but they're not the ones The WB is aiming for. [6 Oct 2000, p.B51]