Roseanne's Nuts isn't awful. It just is. There's "nut" much happening.

An effective and well-wrought drama, with enough cinematic flair and energy to paper over some of its more obvious faults.

There is at least one troubling aspect to "Wishes" - an abundance of product placements within the show itself, which begs the question: Does salvation come with a price tag?

Nothing particularly interesting or revelatory. For this to work--at least for viewers--The Hoff needs to move past self-parody, or at least take himself seriously. He tries here, but the exercise still seems flimsy and hollow.

Elfman is good (as usual), but Alice doesn’t give her a whole lot of room to expand either. ... There’s not much more here, other than those standard sitcom garnishments, and that spunky, chatty fuzzball.

The pilot serves up flashy ooh-ah instead of anything tangible to wrap our arms around.

Ambitious and intermittently entertaining, Zero Hour--and its celebrated lead--don't quite hit all their marks. But at least the mystery's a hoot.

Kelly knows how to work the camera, and the camera knows how to get the best out of her. For Kelly, and NBC, that’s the good news from Monday’s launch. Otherwise, that long “Will & Grace” cast interview was a self-inflicted injury that clouded what this new show is and can be.

If Cecil B. DeMille's 1956 film was the Barnum & Bailey Big Tent version of the story of Exodus, this is the snippy little art house version - smarter (perhaps), a lot more accurate (perhaps) and indisputably duller.

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]

Nice cast. Otherwise, charmless. Airless. Lifeless. (Blah, blah and blah.)

A few of the critical “makeshift” moments defy logic, if not ridicule.

This show is slickly packaged and unchallengingly trite in its slavish reality-show construction.

Though Saget is amiable and likable here, the ratio of good quips to groaners is still only about one-to-four.

The plastic "punch lines" grow more contrived. The tired stereotypes feel more offensive.

"Almost Family" is also a snooze. It sleepwalks past the issues it purports to explore, as well as the unethical, and most likely criminal, behavior involved. ... So "Almost Family" made Hutton's Bechley an almost-loveable rogue, and his offspring almost-unbothered by the almost crime he perpetrated against them and countless others. No "almost" about that. It's flat-out creepy.

Sausage factoryline network sitcoms like this one — most of them, really — are weirdly out of step with the moment, like the obnoxious guest at some party who drinks too much and tells bad jokes before learning that he's not at a "party" but at a wake. ... Lamentable second act.

The fatal attraction story line is a long windup to a punchline you already know, and promos have revealed it as well. The mystery element is plopped down in the middle of that particular story like a lead MacGuffin.

Most of the material flatlines even before it begins, while never rising to the level of the HBO series to which it pays homage.

So the show seems either a subversive deconstruction of the laugh-track sitcom blueprint or a stupefying misfire built around the blandest star ever.

The "Funny or Die" duo makes this zesty, single-camera comedy speak to adults by letting their lead be one.

Alex O'Loughlin is bogged down by trite dialogue, half-hearted support, perfunctory exposition, and better-to-look-good-than-make-sense production priorities.

Lacks the sharper edge of Hughes' movie. [23 Aug 1990]

Nothing remotely lurid in either show [7 Days of Sex and The Conversation With Amanda de Cadenet].

Bruckheimer assembly-line sausage stuffed with plenty of hooey and violence--but the leads are plenty appealing.

Not worth sitting through for the scenery when you can switch to Travel Channel.

Part Dr. Jekyll, part Mr. Hyde and all dumb.

Rosewood's pilot is stuffed with hackneyed setups, tedious exposition and character quirks galore.