What works so well on the page becomes inert on the screen. This superb cast, headed by the always fine Spector, fights the inertia but it can't fight the novel.

This necessary reset looks great, but if the 2nd taught us anything, just watch, don't think.

Nice, also determinedly dull.

Aside from a nagging sense that Sam and "Things" are standing in place. Inertia is part of the joke except that we think we already know the punchline. TV shows are about journeys too but through the early episodes, this one seems like it may be stuck in neutral.

Funny, vulgar, for Burd fans only.

Newcomer Gibbs is good, but it's a shame Waithe doesn't appear in her own story — a sharply written, often amusing one.

Good Pacino, skillful pulp, but an impossible balancing act.

The creators of this "High Fidelity" TV series fail to expand on the material to the point where 10 episodes can be sustained.

The best show on TV remains — emphatically — the best.

Rowe simply does not look like Washingtone, and for a miniseries that seeks to render him in fully human form, that is a drawback. A fatal one? Hardly, but a distracting one. ... Meanwhile, Kearns Goodwin is missing entirely. ... Yet get past this and her "Washington '' works well, as levelheaded, cleanly-told history, absent hagiography or unnecessary clutter.

After a bumbling 4th — especially with regards to race — "Outlander" is back on track. A familiar one.

Good performances, thoughtful series, but saddled with a grim inevitability.

Fine, sharp opener to what already feels like a tragic climax.

First-rate actress, compelling idea but neither can escape the clutches of a shopworn formula.

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

The first three episodes of "McMillion$" unpack the incredible story of the McDonald's Monopoly scam with flair, even if the shape and contours of the series are familiar.

Smart, well-crafted, layered — verging on over-layered.

Millennials will watch, and you will too because this is the best new comedy of the brand-new decade. ... "Nora" is a[n] unbridled joy.

It's a bland allegorical satire built on an obvious point that unfolds in outer space where days (or nights) never end, and the passengers are irritating, and the ship is girdled by stiffs and human excreta. ... Lost in space, and on-screen, too.

Money and cameos and nice locales don't make parodies work (nor does gun violence, which this newcomer jarringly has). ... Pallid, distant reflection of "Childrens Hospital." A whiff.

Lugubrious, also highly watchable.

This "Party" does what the original did well because it knows all of this. Feelings are universal but circumstances are not. ... The rare reboot with a purpose — and a heart.

Stick with "Zoey." Get past the treacle, network cliches, and force-fed emotions, and it does improve. Earworms, too.

[Midge] needs to grow, or at least her stand-up routine does beyond the tame gags about her ex-husband or Jewsih guilt. Those remain the weakest part of "Maisel." ... These early episodes do certainly play to "Maisel's" considerable and well-established strengths. They're a romp through the English language, abetted by actors who remain effortlessly up to the challenge. As always, the writing and those performances are still what resonate, and they're just about flawless

It's pretty stock stuff. [23 March 2000]

It's an attempt to do a 1970s comedy like "Barney Miller" - but without the laughs. [22 March 2000]

SPOOKY stuff happens in The Others. Windows open by themselves, ghosts spring out of walls, eerie sounds wail. Yes, indeed, it's spooky. It's spooky how script writers think this sort of stuff is actually effective after so many years of seeing these cues so many times in so many "horror" movies. [4 Feb 2000]