Cooper is compelling as an overconfident hothead who sees creative potential around each corner. Trouble is, no matter what the writers dream up for Fleming, Fleming has already dreamed up better for Bond. [10 Feb 2014, p.48]

Fun enough, but the nastiness could be applied more heavily.

It's slick, stylish and oh-so-sexy, but plausibility is a comparatively low priority for this second-year series about a circle of L.A. lesbians.

In all, black-ish is Everybody Hates Chris meets Modern Family, but not quite as funny as either. Well, not yet, at least.

Everyone works so hard--including Arnett, even if he never lets you see him sweat--that this comes very close to succeeding. [21 Oct 2013, p.48]

As in season 1, the acting is rich and lusty, with no costume-drama fustiness. [15 Jan 2007, p.33]

[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]

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

It's a light, clever performance. But Episodes never convinces us this is really Hollywood. [17 Jan 2011, p.40]

[Believing Rachel Zoe is extremely deadpan] makes her company more enjoyable as she goes about her business--developing the label, hiring staff--without much more outward joy than Christopher Walken. [12 Sep 2011, p.47]

It's pleasant enough--and thankfully it's not zany. The problem is that Danson's crisis is believable midlife comedy, while the patients' neuroses are closer to stock. [9 Oct 2006, p.41]

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

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

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

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

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

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]

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

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

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]

By and large, they all seem to know exactly how to play to the camera and signal they're in on this nonsense. That gives Princesses a thin but distinct edge. [10 Jun 2013, p.48]

This portrait of Prince William's courtship of Kate Middleton is better than April's plucky Lifetime movie. [29 Aug 2011, p.36]

For now, apart from the Underwoods, it's underwhelming. [17 Feb 2014, p.43]

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

The one thing lacking is writing that goes beyond fondness into truly funny. [17 Feb 2014, p.45]

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

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]

An entertaining big-narrative concept. [5 Sep 2005, p.41]