The first two episodes demonstrate a firm grasp on both story and style. ... Cunningly provocative project.

ABC's latest single-camera comedy is utterly relatable. Even better, it's filled with the same warm yet witty, always smart and eccentric vibe as previous misfit-student faves "Square Pegs," "Popular" and "Malcolm in the Middle."

What a hoot. What a ridiculous, soap-operatic cutup of a series. But if you can stop giggling long enough, as I managed to--quite a feat, let me tell you--Harper's Island is also hugely enjoyable.

Entertaining newcomer full of energy, passion and baloney--the ideal summer diversion.

A not-bad start that promises to take Dex (and Dexter) in a slightly new and fresh direction.

Stamos' half-hour goes on to indulge such other TV trends as black lesbian confidantes, "BuzzFeed listicle" Web checks and the single camera's incessant progression of "witty" repartee jumping to quick-cut "gags" jumping to "awww" sentiment.

If you're looking for groundbreaking high art, you won't find it at a golf comedy. If you're after a little bit of solace, a tiny measure of happiness and feel-good uplift when we could all use it, "Stick" has the goods.

There's no sense of spontaneity, no sharp thrill of discovery (or fear). Gracepoint just plods along, right straight into the surging Pacific tide.

Amusing to watch, but not particularly scary. "Creepy" seems the better word.

It was a dark and stormy night--and a weird, fun, trippy one, too.

"Joe" has promise and heart but — at least just yet — not nearly enough of everything else.

Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.

Mostly fascinating tales from all the presidents' men that occasionally need (sometimes badly) journalistic balance and perspective.

The supernatural action unfolds through special effects like some live-action cartoon, with maybe-aliens literally losing their heads. That matches their Fox Sunday night surroundings--but with sneaky bits of sentiment sprinkled in.

Bitter, brutal, depressing.

Fun, light, colorful and original.

You too may begin to see what this newcomer appears to be: a raucous, smart, gentle, imaginative and consistently funny comedy that scores early and often.

The first three episodes totally nail it.

You can't go wrong with Smith ("That '70s Show") or Lenehan, pros with impeccable comic timing, which leaves relative newcomers Bornheimer and Hayes. Thumbs-up here, too. Worst Week may be the best new comedy on network TV this season.

[A] stylish Gothic thriller that almost gives away a little too much Sunday. Otherwise, thumbs up.

Carell's Scott may emerge as one of those characters viewers dearly love to hate, but the guess here is that he's too over the top - much more so than Gervais' character was - to be appreciated in doses this large. He'd be more effective as a secondary character - think Danny DeVito's immortally despicable Louie DePalma in "Taxi." [24 Mar 2005, p.B33]

Uncompromisingly revelatory.

Authenticity ranges wide enough here to engage the whole family.

Pilkington's musings are sometimes amusing and always pointless, but the animation almost totally nullifies the first and intensifies the second.

Visually compelling with a nicely pensive music score--courtesy of Colin Stetson of Arcade Fire and Bon Iver--The First is otherwise plodding and padded.

Handsome production, excellent Long Island locale, and the first two episodes are best. But after that, "The Undoing" takes its slow, sweet time.

If you thought the "Real Housewives" of New York City, Atlanta and Orange County were outrageous, you haven't seen anything yet.

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