The melodrama of it all is tasty--a jumbo macaroon. [27 Aug 2012, p.43]

Cases piddle away as everyone hashes out deals at a conference table. Realistic, perhaps, but quite the buzzkill. [20 Aug 2012, p.41]

The show is cleverer than you'd expect. [20 Aug 2012, p.41]

This air of finality throws the many small, fine details of Parker's performance, the main reason for the show's existence, into sharp relief. [13 Aug 2012, p.42]

[Perry] effortlessly brings out King's sorrow and even rage--[but] it loses something when thrown in with Go On's overly broad comedy. [13 Aug 3012, p.41]

About Face addresses some deeper implications--Gia Carangi's early death is a cautionary tale--but knows better than to over do it. [6 Aug 2012, p.39]

Bachelor Pad ups the ante this season with a cheesy gimmick that turns out to be ingenious. [6 Aug 2012, p.37]

It's awkward, sweet, sincere--and sometimes yawningly dull. [6 Aug 2012, p.37]

These are almost closer to short stories than sitcom episodes--and yes, they're fantastic. [23 Jul 2012, p.38]

It's an enjoyable enough whodunit. The problem is McCormack. [23 Jul 2012, p.38]

Bad has taken the complexity of modern television storytelling to new levels. [23 Jul 2012, p.37]

The show's tone [is] vulgar, jolly and winning. [16 Jul 2012, p.39]

The first episodes are very promising, full of feints, fibs, and a big, fat shock. [16 Jul 2012, p.40]

Season 2 of the Hollywood satire still plays too broad, [...] But Matt LeBlanc's understated performance as himself has gotten even better. [9 Jul 2012, p.36]

For now, it's a mess. [2 Jul 2012, p.37]

If it doesn't have the ABC sitcom's [Suburgatory's] satiric sheen, it captures some of those glum patches that strike in adolescence. [2 Jul 2012, p.38]

It's dumb, yes, but that miracle of reality TV named Cat Deeley hosts. [2 Jul 2012, p.38]

The Soul Man isn't great, but it's the best sitcom yet developed for TV Land. [2 Jul 2012, p.40]

Daniels is great, biting clean through clotted dialogue that's twinkly yet sanctimonious. [2 Jul 2012, p.40]

It's like watching The Hills with all the shallow fun, glamor and Lauren Conrad edited out. [25 Jun 2012, p.47]

Their white collar cases aren't always riveting but as summer fares goes, hot guys and Manhattan backdrops are a reliably escapist combo. [25 Jun 2012, p.47]

[The mentor-judges are] so blandly polite they may as well be ordering skinny lattes at Starbucks. [18 Jun 2012, p.40]

It's both old and new, a comfy piece of nostalgia that doubles as a fresh guilty pleasure. [18 Jun 2012, p.39]

Gilmore creator Amy Sherman-Palladino gives her actors a zip drive's worth of dialogue....Foster's got the mouth--and charm--to pull it off. [18 Jun 2012, p.43]

The show is still crazily entertaining. [11 Jun 2012, p.41]

[The new women are] all promising, if too polite, to take on Ramona....Luckily, previews indicate they all end the season quaking and screaming. [11 Jun 2012, p. 44]

If the show's isn't terribly ambitious to break new ground, it's a nice lull. [11 Jun 2012, p.42]

Clive Owen teams with Nicole Kidman for a long, lopsided slog through the life of Ernest Hemingway and war journalist Martha Gellhorn. [4 Jun 2012, p.42]

The pace sags, but the accumulation of sacrificed lives gives it all a haunting sorrow. [4 Jun 2012, p.44]

Given the amounts of sumptuous scenery to chew on, the acting is restrained, even if the gore and sex are not. [28 May 2012, p.40]

Kathy isn't a vehicle. It's a parking space. [21 May 2012, p.38]

The framework [couples counseling] is cute but irrelevant: You don't need an analyst piecing together the relationship when that's the audience's job. [14 May 2012, p.44]

In season 2 of PBS's richly clever Sherlock, the Victorian tales have been refitted to our century. [14 May 2012, p.44]

The show is gentle, winning and sympathetic. [7 May 2012, p.48]

It's a well-done, somewhat sleepy ensemble drama about newbies on patrol. [7 May 2012, p.46]

This blah drama about kids living in an LA apartment complex while hustling for big breaks is a Canadian import. [7 May 2012, p.46]

This is always a diverting junk, but if these women actually become preoccupied with preserving their dignity, the jig is up. [30 Apr 2012, p.36]

It's an MRI that's lost its mapping capabilities. [30 Apr 2012, p.36]

The comedy here, as with Elaine, comes from watching Louis-Dreyfus's sophisticated, furiously sharp timing applied to a character who has the intelligence of a finch. [30 Apr 2012, p.35]

It's a raw, ironic, occasionally touching comedy of post-millennial manners. [23 Apr 2012, p.37]

It's like watching a manor house sink beneath the waves with loud, hissing pomp. [16 Apr 2012, p.50]

The jokes hop all over the place but the show, like Chloe, is refreshingly wild. [16 Apr 2012, p.49]

Falco's performance never loses a weary, trudging toughness and, at the core two hard kernels of anger and sorrow. [16 Apr 2012, p.50]

Love Hewitt goes for soft, cozy sentiment. [16 Apr 2012, p.53]

Scandal is about as realistic as Mamie Eisenhower Witch Hunter but it has so much headlong energy, you may not care. [9 Apr 2012, p.40]

The story is promising. [9 Apr 2012, p.42]

Can. Not. Wait. [9 Apr 2012, p.39]

It's very well-done, but the opener doesn't resolve a viewer's doubts. [9 Apr 2012, p.42]

They're just bland. [2 Apr 2012, p.44]

This is just a nice, basic reality project. [2 Apr 2012, p.40]

The writing could use some gloss--it's Will & Grace with no grace--but Drescher still knows how to deploy her honking rasp and Higgins has exceptional comic skills. [2 Apr 2012, p.38]

The show still tends to go suddenly flat--it's hard to tell whether the party is supposed to be dead or it's just incompetently staged--but Hamm is always superb as Don. [2 Apr 2012, p.37]

The humor has a light, convivial burble. [26 Mar 2012, p.45]

It's mesmerizing. [26 Mar 2012, p.44]

The one great redemptive asset--and it's significant--is Kiefer Sutherland. [26 Mar 2012, p.41]

It has none of Desperate Housewives' winking cuteness, none of Revenge's dagger-eyed, fire-breathing kick. [12 Mar 2012, p.43]

The jokes take of on all sorts of unexpected trajectories--foul balls that score. [12 Mar 2012, p.45]

This bifurcated character--Mother of the Year meets Jack Bauer--isn't always believable, but Judd welds the two Beccas together through sheer willpower. [19 Mar 2012, p.41]

Saddled with stars who neither clash nor click, breaking In appears to be broken. [19 Mar 2012, p.46]

The show moves along with the dull, humming smoothness of commerce. [19 Mar 2012, p.42]

While obnoxious luxury is always watchable, the show is lazily cookie-cutter. [19 Mar 2012, p.42]

Comparisons to The Iron Lady, a sloppy movie that has Meryl Streep in roaring good form, are inevitable. Is Game Change better? You betcha. [5 Mar 2012, p.41]

A tricky show with serious potential. [5 Mar 2012, p.45]

The humor is so lighthearted, the show practically skips. [20 Feb 2012, p.48]

The show is technically flawless--so is Macy strutting like a mangy Mick Jagger--but the Gallaghers' raucous, defiant pride never really engages me. [20 Feb 2012, p.46]

The scares are not as over-the-top as American Horror Story but more chilling because they're applied glancingly. [13 Feb 2012, p.44]

Girl has a surprisingly casual sense of humor and Anna Silk is physically just right in the lead role. [13 Feb 2012, p.45]

NBC hasn't had a show this impressive since the first season of Heroes. [6 Feb 2012, p.39]

The premise might make sense if Stults had a Rain Man intensity. Instead he's laid back and scruffy. [6 Feb 2012, p.40]

This feels like an assembly line for the soul. [6 Feb 2012, p.40]

It's fun sport. [30 Jan 2012, p.44]

There's always a laugh or two. [30 Jan 2012, p.44]

Luck is a true original, a show with a tone like no other. [30 Jan 2012, p.43]

This show dilutes Paul Fisher's personality. [23 Jan 2012, p.42]

It's still not funny. [23 Jan 2012, p.42]

The first three episodes are full of impressively strong criminals. [23 Jan 2012, p.40]

The show has the makings of great--what else can I say?--escapist entertainment. [23 Jan 2012, p.39]

[A] dull new sitcom. [23 Jan 2012, p.40]

A solid, well-done series. [19 Jan 2012, p.42]

It takes a few half-hour episodes before the tone gels. [16 Jan 2012, p.39]

[Laura Prepon] doesn't have any of the original's bone-tired, hard-earned scorn. [19 Jan 2012, p.42]

Luckily the characters are so fully formed, and so fully inhabited by the cast, that the whole mess staggers up out of the trenches and keeps going. [9 Jan 2012, p.39]

It's just a plainer Ugly Betty. [9 Jan 2012, p.40]

It's a hair-sprayed cobweb. And not funny. [9 Jan 2012, p.40]

The Exes is New Girl fallen off the back of a truck. [19 Dec 2011, p.44]

Brosnan remains totally believable whether he's borderline batty or bravely resilient. [19 Dec 2011, p.44]

It's bright and obvious as a cartoon yet written with a clean, precise patter of jokes. It's also very well cast. [12 Dec 2011, p.45]

This Victorian-era prequel to Peter Pan works. [12 Dec 2011, p.48]

The show doesn't need to be so crowded. [5 Dec 2011, p.46]

This could grow into a show of more than ordinary interest. [28 Nov 2011, p.57]

In it's second season, Endings has clicked as one of prime-time's most sophisticated ensemble comedies. [28 Nov 2011, p.58]

This is close to sitcom, but the show's skeleton is strong enough to bear it. [28 Nov 2011, p.62]

An abysmal new series, but Tony winner Katie Finneran is a great comic talent. [5 Dec 2011, p.48]

The show is a quietly intriguing, informative study of assimilation, identity and community. [21 Nov 2011, p.40]

James Spader, as the cryptic new CEO, is better. Everything he says sounds like a parable intended for stupid children. That's how to manage Dunder Mifflin. [15 Nov 2011, p.43]

This is a well-constructed, old-school sex farce. [15 Nov 2011, p.43]

This drive for revenge is what makes the pilot spark, smoke and go chug-a-chug-chug. [14 Nov 2011, p.45]

This fall sitcom is a hit entirely because of Deschanel's performance as Jess. [7 Nov 2011, p.41]