Nothing to see here. Move on.

Messy, discordant opener with potential.

A slight, cartoonish, and terribly, terribly obvious dramedy.

I'm ashamed to admit it in front of my more serious colleagues, but I think the show can be very funny. Of course, like everything else on TV, some of it hits, a lot of it misses. But in the midst of the pain, cruelty, ridicule and abuse, not to mention boredom, somebody falls into a manhole and I find myself bursting out laughing. [29 Mar 1990]

It's horrible, horrible, horrible, and you will hate yourself for laughing--although I'm afraid you will.

Carpoolers is like a flimsy "Saturday Night Live" skit pounded home and running on beyond endurance. Actors sputter their lines, dither and whimper like some 1950s sitcom.

One Big Happy is just... conventional.

The outcome is an ersatz facsimile of the original “Trek” and a couple of spinoffs. Their heart and overall spirit are present, along with some decent special effects. The dumb jokes and ham-fisted setup lines just tend to diminish them.

TBS' entry only lacks "Sex and the City's" craft in writing, characterizations, plot, production and wit.

Pauly is still Pauly--but he's a more grown-up version who cares about his friends, ailing dad and career.

If you last the entire pilot, and your head doesn’t hurt, you’re a sturdier viewer than I.

This isn't only "Frasier," recast as a standard family sitcom. It's "Green Acres."

You have a life--live it, and don't watch this.

This feels more like a rushed afterthought by Fox instead of a fully developed premise that could carry a pair of seasoned actors to their retirement, or at least to a big payday.

There's a smoldering ember of promise here, mainly in the cast, even if the pilot tended to smother it.

A wan, weary network-sitcom-by-committee--oh, and Matt LeBlanc, too.

It's bright! It's energetic! It has that sort of dialogue that zips, zaps and zings! It's even ironic! Yet, at its very core, Motherhood is completely vacant.

Outlaw isn't bad as much as bogus. The whole faulty premise creaks and groans under the weight of a now-you-see-it-now-you-don't shell game, as key plot points zip by, then are quickly tucked back under their shell in the vain hope you won't remember them, or maybe take them at face value.

It's not so stylish or energetic anymore, and it's still not particularly funny. ... The problem isn't just rim-shot jokes, though. It's the whole conception of this comedy's situation, which is riddled with illogic and overstocked with annoying characters. [15 Apr 2003]

Drescher is back in a bantamweight sitcom from ancient times — the 1990s.

A little too raw, especially in this hour.

Snooki & JWoww reeks of the end-times--the end-times for "Jersey Shore."

All this feels dutiful and rote - the CliffsNotes version.

There's some very funny stuff here, but the serious question before NBC is this: How long can it stretch the joke before viewers go stark raving mad?

Think of Fuller House as “Full House 2.0.” Same premise, same vibe, mostly same cast.... A winner, strictly for fans.

This fantasy adventure is actually tolerable now for adults who found ABC's May "Dinotopia" miniseries such an endless festival of special effects with little redeeming dramatic value. [28 Nov 2002]

Every single scene, and just about every line, will remind you that this is an unapologetically, gloriously idiotic enterprise. ... For discriminating viewers; shark lovers; sharks; meteorologists: F. For “Sharknado” fans: B

To Wisdom’s credit--so far anyway--this doesn’t look like the typical gruesome network cop drama arrayed with female victims and their predatory killers (even though there are two such victims in the pilot). It does look like a good idea in search of genuine high-tech bona fides.