"We Are Lady Parts" captures the spirit of punk rock in a way that's both entertaining and resonant.

A brilliant piece of work, also profoundly dispiriting.

The producers' storytelling bravura grabs your guts from the first tense second and doesn't let go. [29 Oct 2002]

As what you'd expect from the mind of Fred Armisen — quirky, strange, at times off-putting, at other times, engaging, and full of puckish charm.

It’s more urgent and visceral, the blood more copious, the agony more intense. This Roots doesn’t flinch, but you almost certainly will. The cast is first-rate, too. ... But this Roots can’t quite escape the faults of the original. Kunta’s story, the Fiddler’s, and later Chicken George’s, are patterns, and also cycles. They seek dignity, but find only indignity--or abject cruelty--over and over.

This show was always best when handling the little things that aim to capture life, and often do.

It's intriguing, and worthwhile for audiences in search of something genuinely different. Whether that can be sustained over the course of an entire series of television remains an open question.

Bleak and desperate? Possibly (the song [Peggy Lee's haunting cover of the classic Leiber-Stoller song "Is That All There Is?"] is just a sad song). But here's the surprise: Severance makes the opposite case.

Basic yet beautiful, Cosmos appears to be a winner.

It's just as good as I remembered. Even better, if that's possible. [8 Apr 1991]

You see no skepticism in Beyond. No analysis. No thinking. Just a lot of truly scary people yelling at very young kids.

You dive into the deep end of this pool and struggle to make it back to the surface, not because you have to (although in my case I did) but because you can't. That's obviously good, also occasionally frustrating because Homecoming can be parsimonious with information. ... Then, there's Roberts, who is superb (and always is).

In Treatment deftly picks up where it left off--midpoint in the journey of Paul Weston's soul--and reminds us why we took this trip with him in the first place. The new cast is superlative, Bryne is intoxicating, and Ryan is an especially excellent addition. Bon voyage.

Everything is pushed right to the edge, and that it doesn't topple over in a flaming heap is tribute to a pair of brilliant performances--though Damon's is first among equals--and an absorbing production that is morbidly fascinating from start to finish.

A sensitive, nuanced and particularly well-acted dirge.

Halt finally looks like a series going someplace important, and worth viewers going there with it.

They [directors John Dorsey and Andrew Stephan] know how much to say, and show, to viscerally deliver the sights, sounds and even smells, without scaring us away.

Beautifully crafted, occasionally incoherent, often challenging and insistently demanding, but what’s not entirely clear in the early episodes is whether the payoff will be worth all the trouble.

Uniformly excellent - although some additional reporting devoted to the treatment of PTSD would have made this a more complete package.

This beautiful and often moving film resonates even more powerfully with Sandy in our rearview mirror, while Burns' favorite theme--the American character--is drawn here with great clarity.

What worked especially well last season also gets better in the second.

A warm, welcome and even moving return. Best of all, a reflective one.

The result is not just a great comic book transfer but a warmly human cartoon that's goofy, clever and touching. And cool. What else do we need? [8 Nov 2001, p.B35]

A beauty that requires time and patience, but at least strongly hints at a payoff that will reward both.

Don't miss the pilot. It's the best new crime series of the year, whatever you call it, tabloid TV, exciting TV, real TV. [6 Jan 1989]

Every character bursts with life here, in what may be the most fully realized show on TV. [13 Aug 2007]

Sedaris remains, as ever, hilarious, inventive, unbalanced and deeply, joyously, shamelessly twisted. Her new show’s not bad either. ... At Home With Amy Sedaris is each of those [“The Frugal Gourmet,” “Barefoot Contessa,” “Paula’s Home Cooking” and “30 Minute Meals”], on acid.

Executive producer Frank Darabont ("The Shawshank Redemption") is wonderfully skilled at framing shots to achieve maximum horror effect. But the middle stretch tends to bog down. My advice--watch the first 25 minutes (they're really good), then go trick-or-treating.