Engaging docudrama with lots of interesting detail. Worth watching.

Not a lot of laughs — as if — but the payoff succeeds and so does Winslet.

Crawford and Wayans display little rapport. That leaves racing cars, speeding bullets and wannabe wit to prop up an essentially superfluous show.

This is a Danny McBride comedy--not exactly funny, but weirdly engaging in its own uncomfortable way. His fans should be pleased. Everyone else will be puzzled--or worse, repulsed.

The Ranch isn’t hateable as much as just bone-weary. It’s a by-the-dots, or the numbers--whichever are easiest to connect--sitcom that proceeds according to formula.

This doesn't pretend to be a deep show, but it's a pleasant diversion with a good cast, and really good (read: expensive) production values.

An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.

Body of Proof feels like a show that has nearly been nibbled to death by network ducks. You can almost see the TV executive Post-it notes on the screen.

The show is bad, the star a bit sad, his shtick as old as a rock.

Finally, the best new comedy of the 2005-06 TV season is here... What's that, you say? This is a drama and not a comedy? Oh, dear.

A not-bad formula gothic that'll rise or fall on the Dekker/Robertson chemistry; I'm betting on the former.

Sleepy, listless, dull. But it has a great set; the beach and clouds on the horizon are alluring.

Bland, with no pop or energy, Scoundrels limps sadly along.

Had something special about it from the start: the mood, the writing, the acting. All the great series establish a mis-en-scene, a special environment that you can cut with a knife. I felt I was in a different place watching "Wiseguy." [30 May 1988]

Matt Olmstead and Nick Santora are two solid guys who know how to make good TV and Lombardozzi and Alonzo are superior actors. But there are only flashes of promise here.

The missing pieces, arguably the most important ones, are the groundbreaking and socially relevant ones. That proficient and fluid animation aside, Disenchantment breaks no ground, offers nothing socially current other than the fact that Bean's a strong, independent woman.

Waco won’t be the first drama to reduce a tragedy to its simplest components, but this doesn’t offer much confidence that these are the right components or the only ones. This is Waco in black and white, absent any shades of gray--an inkblot test with just one interpretation.

The dialogue's preposterous, the plot ludicrous, and the premise as fresh as a wrung-out old mop.

We've been down this road before and all the signposts of Underemployed look the same.

"The Violet Hour" is an elegant and surprising love story, while "The Royal We" is a sour disappointment. But the best news: A Matthew Weiner show is back on TV.

This is good bunk, fun bunk, energetic bunk. Much better bunk than the last volume.

Craven and corrupt, studios did ruin lives and stoke racism. But a seven-hour Velveeta-smothered corrective, along with a few nice performances and some genuinely awful ones (discretion is indeed the better part of valor on this last point, by the way)? Get me rewrite, kid. STAT. Overindulgent, overwrought, overdone.

Solid star turn, eerie production values, even a killer ending.

Blunt Talk aspires to "Network's" kinetically brilliant madness. It arrives a limp and muddled mess.

Singleton’s first TV series has a nice retro vibe, but otherwise not much action, not much originality, and not much wallop.

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]

Nix knows how to dig deeper holes for his folks, while he broadens their motivations, sometimes recognized only along the way. Nix isn't bad at keeping the plot pot percolating, either.

Not so much scandalous as scandalously dull.