Motive isn't ingenious enough to motivate imitations or spinoffs, but it's smooth and diverting. [27 May 2013, p.40]

The sincerity of the enterprise is in inverse proportion to its fun. [13 May 2013, p.49]

It is still a distinctly Guest production: often poky, always charmingly whimsical and, from time to time, so astoundingly funny you seem to have shot into a distant stratosphere of pure comedy. [13 May 2013, p.45]

[Rectify] feels damply airless--the tension might be ripped open at any moment by a thunderclap of revelation.... It's a disturbing, impressive performance [from Aden Young as Daniel]. [13 May 2013, p.49]

To work, this overheated alchemy needs a magnetic Leo, but Tom Riley is miscast--too smart-alecky and brash. [13 May 2013, p.46]

The show itself is standard construction, a framework of planks that will need more work. [6 May 2013, p.48]

A lovely piece of work. [6 May 2013, p.49]

This isn't much different from the studied vapidity of an earlier E! star, Paris Hilton, except that Lochte seems awfully nice. [29 Apr 2013, p.40]

Louis-Dreyfus's performance--which, like Congress, can be divided into two houses, Crackling Charm and Hysterical Ego--still drives the show, but we're getting more realistic sense of political gamesmanship. [22 Apr 2013, p.45]

The ensemble remains perfect, but the show's matter-of-fact crispness has been dulled. [22 Apr 2013, p.46]

The acting is good, especially Bill Skarsgard and Landon Liboiron.... I like the show's languid, dreamlike beauty, but horror fans may be less patient. [22 Apr 2013, p.47]

It's a well-made hour of generic moments. [15 Apr 2013, p.44]

NBC's best new drama since forever. [15 Apr 2013]

Matthew Weiner has advanced the show far enough into the '60s that its fundamental philosophical question begins to generate its own oppressive suspense. [15 Apr 2013]

Thandie Newton is intimidatingly fierce.... The problem is everyone else. [8 Apr 2013, p.45]

Chalke and company are all expert comic actors, but the pilot is leapingly frantic, a puppy wanting love. [8 Apr 2013, p.45]

This likable silly series has entertainment value. [8 Apr 2013, p.42]

The production is gorgeous and the tedium unrelenting. [8 Apr 2013, p.42]

There's event television, and there's Game of Thrones. [8 Apr 2013, p.41]

This is essentially a dialogue between baffled attorney and baffling client, which makes for an arid 95 minutes. [1 Apr 2013]

This haunting New Zealand miniseries boasts a strong, tense performance from Mad Men's Elisabeth Moss as a detective, but it's very much the work of director Jane Campion. [25 Mar 2013, p.44]

The show is overworked and overthought. [25 Mar 2013, p.43]

Preachers' Daughters, focusing on three families headed by ministers, has its hearts in the tight place. [18 Mar 2013, p.42]

If sparks (and ratings) weren't flying, what matters most id Delany's satisfyingly forthright portrayal of a woman who trusts her intellect and instinct. [18 Mar 2013, p.42]

History's first scripted series is a headlong tumble into an irresistible and surprisingly neglected genre. [18 Mar 2013, p.41]

These people are all more ordinary and much less fabulously neurotic than you might have hoped. [11 Mar 2013, p.48]

This is like dramatizing War and peace without commenting on war or peace. [11 Mar 2013, p.46]

Only Visnjic, immaculately groomed and vaguely continental, seems to understand that this over-the-top story requires not only a constant flame to boil the plot but a flirtatious sense of fun. [11 Mar 2013, p.45]

Beyond the pilot, though, it appears to be a blandly generic precinct drama. [5 Mar 2013]

A gauzy, pretty documentary. [18 Feb 2013, p.43]

It hyperventilates when it means to be breathless. [18 Feb 2013, p.44]

Most of Mornings is stock melodrama, and apart from Molina, not all that well acted. [18 Feb 2013, p.43]

Until, and unless, all the elements fall into place, it's more smush than smash. [18 Feb 2013, p.41]

It's tense, engrossing, mildly ludicrous--and worth checking out before the Cold War melts. [11 Feb 2013]

The two hours available for review are cinematically rich, full of sleek, oily pools of darkness. [11 Feb 2013]

What gives the show its kick is the gleefully childish lack of repentance shown by most of these rascals--countered by Olyphant's coolly amused control. [4 Feb 2013, .39]

The show might work if Steven Pasquale had a script that allowed for bolder contrasts. [2 Feb 2013, p.40]

[Larry Hagman's last days on the show don't] keep Dallas from being robust fun. [4 Feb 2013, p.42]

This provocatively, almost boisterously violent thriller bolts into action with a clever premise and sustains it with good, unexpected jolts. [28 Jan 2013, p.43]

The show is an absolute original. [28 Jan 2013, p.44]

Diaries is lukewarm and earnest. [21 Jan 2013]

An entertainingly sinister dip in the cesspool of 19th century criminality. [21 Jan 2013]

Girls can still be Girls. [21 Jan 2013]

We waste a lot of time on her gigs--not unusual for this kind of show, but we've seen it time after time. [14 Jan 2013, p.52]

Discovery's Africa is yet another marvel of high-definition photography. [14 Jan 2013, p.56]

It's a promising setup, but Deception doesn't allow us the dirty pleasure of enjoying the awful Bowers. [14 Jan 2013, p.56]

[Skip's] part is virtually unplayable, especially since Bill Pullman and Jenna Elfman, as the first couple, give restrained, relatively natural performances, and Skip's siblings are written more along the lines of Modern Family. [14 Jan 2013, p.52]

If the Granthams are low on dough, emotionally they're richer than ever. [14 Jan 2013, p.51]

It's lighter, smaller--West Condo!--but still a pleasure. [17 Dec 2012, p.37]

It's more shoofly than pie, but amusing. [17 Dec 2012, p.39]

One of the fall's best new dramas. [26 Nov 2012, p.48]

They're delightful. [26 Nov 2012, p.48]

It's still a great cast, but there's a whiff of baffled frustration. [26 Nov 2012, p.44]

666 Park Avenue remains good Gothic Trash. [26 Nov 2012, p.44]

I'll take Hour's rather sour worldview--deadlines in deadly times--over the grand uplift of HBO's The Newsroom. In a nanosecond. [3 Dec 2012, p.44]

Lohan attacks the part with a relentless, huffing-and-puffing determination that rivets attention.... While Bowler is a flawless Burton, Lohan's single-minded fierceness obliterates him. [3 Dec 2012, p.43]

The heartbreak here--especially the cases of poor children who died of "dust pneumonia"--is tremendous. [26 Nov 2012, p.45

The CW's best show since Gossip Girl.... it has a forthright narrative seriousness, a respect for the gobbledy-gook that makes up any superhero's backstory--and a game cast performing with the correct degree of seriousness. [19 Nov 2012, p.35]

It's an affable show, but at an hour long, it starts to feel like a slow dance that won't end. [12 Nov 2012, p.46]

The show works and it's fun. [12 Nov 2012, p.43]

The Nashville-meets-California jokes are pretty weak. [12 Nov 2012, p.46]

The endless sex jokes, most of them uttered expertly by deadpan Dennings to bubbly Behrs, are a pain. [12 Nov 2012, p.45]

Revenge's second season recaptured its melodramatic mojo after a muddled month. [12 Nov 2012, p.39]

It's [Bobi Kristins's] aunt Pat Houston who gives the show--and, one hopes, Bobbi Kristina--some backbone. [5 Nov 2012, p.43]

The high school stories are tighter-focused, and the Manhattan ones breathe with Broadway romanticism. [5 Nov 2012, p.42]

It's dark, big-top sadism, and we wait for a story to emerge. [5 Nov 2012, p.41]

Johnson is the find of the season: She's the sunbeam that doesn't filter out dust motes. [29 Oct 2012, p.38]

There are rivalries and feuds and dangerous situations, as well as a complete lack of personality. [29 Oct 2012, p.38]

Nashville is the best new show of the fall. [29 Oct 2012, p.37]

Miller is believably blonde, and that's about it. [22 Oct 3012, p.42]

It's like watching someone try to flirt while stuck in a revolving door. But Gummer has a whirring charm that never settles for mere adorkability. [22 Oct 2012m p.42]

The Walking Dead has managed to work fresh morsels into television's grimmest stew. [22 Oct 2012, p.41]

The game changer sets season 7 on an exciting new course. [8 Oct 2012, p.60]

This new series is a bold military thriller. [8 Oct 2012, p.60]

The sitcom banter is actually delectable: zingy and absurd. [8 Oct 2012, p.57]

[A] highly satisfying update. [8 Oct 2012, p.57]

The show hasn't lost its clever agility at building pressure-cooker suspense and then lobbing in a surprise. [8 Oct 2012, p.55]

There's no erotic pull between him (Jay Ryan) and the detective (Kristin Kreuk). [15 Oct 2012, p.49]

This BBC hit is the soppily tender story of '50s midwives in London's East End. [1 Oct 2012, p.38]

A sitcom that veers uncomfortably between charmingly cute and cloyingly sarcastic. [1 Oct 2012, p.38]

This is well-produced, but it could just as well be Mission:Colonial. [1 Oct 2012, p.38]

Put his [Bobby Cannavale's] floridness up against Buscemi's poker-faced acidity and you get fireworks. [24 Sep 2012, p.57]

The show is a birdhouse full of woodpeckers. [24 Sep 2012, p.54]

The show consists mostly of cheap re-creations of cases in which a marriage is undone by infidelity--and murder. [10 Sep 2012, p.40]

Cosmetically frozen and emotionally infantile. [17 Sep 2012, p.40]

The opening gag of this new series is not just contrived but also uncomfortable.... But the show improves from there. [17 Sep 2012, p.40]

The overall mythology is sprouting nicely thorny tendrils. [10 Sep 2012, p.42]

Branagh is very fine as Wallander. [10 Sep 2012, p.40]

Copper lacks the brains or kick to lift it above being a period piece. [10 Sep 2012, p.41]

The color, pace and performance are vibrant, often crazily so. [10 Sep 2012, p.39]

It's just suspenseful and clever enough to keep you happily intrigued. [3 Sep 2012, p.39]

They all work hard at being catty, as reality format demands, but the snideness is forced. [3 Sep 2012, p.40]

The stunts are a confusing mix of bullets and blowups: Apocalypse Now on the scale of Wipeout. [3 Sep 2012, p.40]

The Inbetweeners is a companion to the network's hit Awkward. And equally funny. [27 Aug 2012, p.48]

Kane's visions aren't done with originality, but Grammer's performance is still powerful. [27 Aug 2012, p.48]

Mount needs to run this thing, and he can't if he's the caboose. [27 Aug 2012, p.44]

Here Comes Honey Boo Boo Child is one miserable half-hour. [27 Aug 2012, p.44]