[Robinson] is funny, and there are fleeting reminders of that.... Then it all goes sour, and flat.

The series actually improves on the movie. This is consistently funnier, weirder and more inventive.

The Bomb is a headlong-rush past the milestones and guideposts of this history, rarely pausing to explore their deeper consequences or meaning, while offering just a nod now and then to enduring controversies, or acknowledging--though barely exploring--the huge personalities that shaped this history, such as Robert Oppenheimer. The actual science is almost completely ignored.

It veers, sometimes swerves, between a public service tone and made-for-primetime spectacle. That can be disorienting, too. But, for the moment, all viewers can do is take I Am Cait at its word, or the words of its star.... I Am Cait now has no choice BUT to get this right.

Syfy knows we come to this only for the sharks, cameos, chain saws, acting--the worse, the better--and dialogue so sublimely inept that even the sharks wince when they hear it..... For discerning viewers and shark lovers everywhere: F+. For Sharknado fans: B+

Sex&Drugs&Rock&Roll smells suspiciously like a vanity project that sat on Leary's shelf for a couple of decades.

What you will certainly see is how finely tuned both the marital observations and comic timing are.... This summer's must-see comedy smash.

Impastor weakens its good work by trying a bit too hard.

Masters of Sex just gets better and better.

The pace has slowed, the ride less wild, the story refocused on Ray's "fixer" skills.... McShane and Holmes are welcome additions.

In the three episodes Comedy Central offered for review, most of the sketches work, some don't. But the best of the lot is next week.... just might be that breakout season.

As genre satire, Spoils is amusing. As film study, it's informative. As a viewing experience? Uneven: Sometimes funny, a little more often not.

Scream is exactly what you'd expect. It may also be exactly what you want.

Sure, it's summer and the viewing is easy--and Zoo is about as easy as it gets. There is some fun here, or potentially some fun.

A stylish, intelligent production.

[The] tightly crafted pilot abjures the urge to make its own judgments on good/evil, sanity/delusion, isolation/connection, conscience/capitulation.

The same strut and swagger is here, except Ballers feels smarter and more clear-eyed about the dangers of this culture, in ways "Entourage" never did.

The Brink is a grim would-be comedy grindhouse full of half-baked one-liners propping up an overbaked plot.

Hip deep in all the chicken droppings about the movie, you would hardly know that it's a damn good movie. [9 Sept 1993, p.109]

"Potential," in fact, is the key word. It's definitely here, but "2" may also need all eight episodes to realize it.

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.

Of necessity, the story is so rushed, the characters so carelessly brush-stroked, that what should be climactic--the first manned spaceflight--feels incidental, almost blase.

Beals and company (including Joe Morton as her remarkably flesh-and-blood boss) breathe life into this tale the way their characters restore life to patients, with skill and guts and, crucially, souls that radiate precisely what this show is about.

By the end of the first season, the show had improved significantly, if not quite dramatically, and based on a viewing of the first two episodes, that trend continues.

While neither dialogue nor sitcom tropes could be called fresh, the pilot plays solid, relying on able actors to score under tight direction (James Widdoes).

These too-timid re-enactments, punctuated with the occasional burst of VFX gunfire, are interspersed with some informative commentary by real experts like veteran mob reporter Selwyn Raab and dramatically less informative observations by actors like Vincent Pastore, who of course played a mobster on TV.

A great ensemble cast and characters who grow in complexity, and humanity, episode by episode. If you didn't know them after the second season, you will get to know them well in the third.

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]