Amid all those speeches, there's beauty, passion, heart and brains in The Newsroom. There's also humor, even more than ever in Sunday's opener.

[A] strongly acted thriller, which seems to add another intense dimension weekly.

The ambition’s an admirable one, and Outsiders clearly has ambitions. But what it doesn’t have is much of a story or all that much conviction in the one it’s telling.

Marry Me is the rarest of commercial TV sitcoms in that it's actually funny, has two standout leads and a superb supporting cast (especially Meadows and Bucatinsky).

The Latina female leads are--to put this in a way that's both politically correct and blandly inoffensive--vivacious.... That trademark Cherry wit, written in acid, is evident here. too.... But the biggest problem here is the sprawl--lots of stories, lots of characters, lots of colors--and not one them going anywhere in a hurry.

It's unclassifiable and unpredictable, in the best possible ways.

A little clunky at times, but otherwise all is well here, thanks especially to Alexandra [Reid (Sigourney Weaver)].

The only thing deep in tonight's Firefly premiere, though, is the well of cliches into which Whedon dips for what passes for plot and exposition. [20 Sept 2002, p.B02]

Nothing is left unspoken in dialogue as blandly obvious as "I am the only other person who knows" and "She had a lot of secrets."

Kind of silly. [11 May 1995]

[Bill Lawrence] scores again here, with an instantly appealing ensemble, from Astin's "soulless upstairs tool" to Rory Scovel as the downstairs dude from "a very competitive community college.

Crisis ultimately gets its priorities straight by giving viewers a reason to care--about the characters, outcome and mystery.

This Fox series is smartly written and acted, and it's even evocatively filmed in New York locations that lend it a gritty city flavor. But.... Less persuasively entwined is a heavy-handed romance whodunit.

A surprisingly revisionist take on one of the most controversial trials of the decade.

Solid cast, intriguing premise, and--best of all--the Old West. Should easily be another winner for AMC.

Not nearly enough fresh information on the Long Island case, and cluttered with tangents that seem to lead nowhere, The Killing Season still makes its case — a terrifying one.

A not-unpleasing comedy that takes time and commitment to grow on you. How long? I started to like it three or four episodes in. Seems like an awfully long time, no?

Has boundless contempt for its characters and their empty lives of not-so-quiet desperation. This would be OK if the satire had bite and wit or the lead character had a single redeeming quality. Instead, Coop is a self-pitying schlub without the brains or moxie to pull himself out of his tailspin.

Glimmers of hope force their way through the fog of noir cliche.

The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.

Well-crafted thriller, and a reminder of just how good an actor — and director — Bateman is.

A partially successful reboot, with less music, more story.

More of a continuation than a "remake," this one looks to be a winner.

Nice to finally see a show nailing what it wants to be and say, in continually discerning work from Passmore, Szostak and series creator Sean Jablonski.

[Kit Harington's] a narcotized Jon Snow in a narcoleptic of a miniseries that nods off at times, and seems maddeningly unaware that viewers will be induced to do the same thing. ... A gluepot of a miniseries with good actors and no pulse.

The first "Super Pumped" installment approaches its ripped-from-the-headlines story correctly, and Gordon-Levitt is great.

Absent the overworked conceit of actors glancing at the camera to register annoyance or irony, this has turned into just another well-produced cop show with some excellent actors, like Imperioli or James McDaniel, who plays Det. Jesse Long and played Lt. Arthur Fancy on "NYPD Blue."