Sedgwick embraces the character's quirks, including a weakness for sugary snacks, while conveying her keen intelligence.

Jack has an excellent cast.... Maybe the writing will catch up with them. [31 Mar 2014]

The second half builds steadily and surely toward a potential meet-and-greet with the apocalypse. [12 Dec 2005, p.39]

Even though I didn’t approach it with a genre fan’s enthusiasm, I will allow that this remake offers its share of scares.

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

A satisfyingly meaty drama. [11 Jun 2007, p.41]

Unlike Daily anchorman Jon Stewart, he's not only ridiculing the headlines but mocking himself. This is closer to acting than comedy, and it may be tougher. But Stephen Colbert is a great American and deserves our support. And suppore. [7 Nov 2005, p.41]

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

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

The show is light with sharp baby kicks of meanness. [5 May 2014, p.46]

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

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

Though the show lacks the inspired cohesiveness of classic sitcoms like Cheers or Seinfeld, it is bright, brisk and well-played.

Even if his acting feels like a sentimental stunt, Gervais wrote and directed the series with gentle skill. [16 Sep 2013, p.41]

The concept seems to be an easy one to exhaust. But if the writing manages to stay fresh, we could be looking at the '90s version of The Bob Newhart Show.

Of the large, nicely peppered cast, I especially like Vergara, who has some of the vamping yumminess of a Catherine Zeta-Jones. [8 Jan 2007, p.35]

It's more like Seinfeld reconceived for the slacker sensibility of a director like Kevin Smith or Richard Linklater. And that's what's wrong with the show: It's hard to shake the feeling that it's just someone's project.

Even with Steven Spielberg listed among the executive producers, this distant world doesn't inspire much awe. [3 Oct 2011, p.45]

When you're hot, you're hot-which is why having Betty White in the cast has generated an unusual amount of buzz for this TV Land sitcom. But her costars-ace comic actresses Wendie Malick, Jane Leeves, Valerie Bertinelli-are the ones who add sizzle to a not too promising vehicle.

Grey has been on long enough now that it has lost much of its erotic sizzle--McDreamy is edging toward Mcnappy--but the satisfyingly steady seventh season is a model of a hit that keeps fitting nee characters into the blueprint. [20 Dec 2010, p.41]

The '70s Show has a jarringly '90s slacker sensibility. Still there are some very funny moments.

Up All Night is adorable without being cute. [3 Oct 2011, p.41]

If all this sounds more painful than funny, you've hit on the show's main problem.

As a social experiment, this project fizzles because of the imposing scrutiny (even the phone is tapped) and because of the artificial relationship foisted on these instant loftmates. But as television, it's rather intriguing.

This show is so wrong. And I loved every minute of it. [5 Feb 2007, p.37]

Annie calls for some sort of inner steel, but Perabo looks less like an untested agent than an overwhelmed intern.

Trophy Wife is no prize--the pilot is swamped with exposition recited in the girlishly thin voice of star Malin Akerman--yet there's enough of a comedic brain and cast at work here that some additional polishing might do the trick. [30 Sep 2013, p.49]

The premiere us well-shot, humidly atmospheric, but a little more urgency would be appreciated.