Ragsdale has vigor, and the office scenes, featuring Jason Bernard, Yeardley Smith, Jane Sibbett and Hank Azaria, work moderately well without the intrusion of the barbershop quartet in his cerebellum. That gimmick, however, makes the show unbearably contrived.

The writing undercuts a talented cast. ... Still, this is a decent kind of sitcom.

Imagine Twin Peaks for preteens.

An attractive, multi-accented cast and far-flung locales make it worth the trip. [1 Jul 2013, p.36]

A fun buzz. [1 Jul 2013, p.36]

The pilot establishes an eerie claustrophobic dread, and well-budgeted special effects add intensity. [1 Jul 2013, p.35]

The only thing more uneven than the quality of the videos is host Bob Saget's comic commentary.

True Blood is neglecting the potent subtext of vampire myth--forbidden sex and romance--in favor of political allegory. [24 Jun 2013, p.39]

[A] cool yet intensely emotional British crime series. [24 Jun 2013, p.40]

A smoothly executed vehicle for Rebecca Romijn and Jon Tenney, it knows exactly what it's doing, [16 Jun 2013]

The show may never again attain the sustained comic brilliance of last week's pilot. But this is a rarity for Fox: a sophisticated and clever sitcom.

Somehow the premiere hour fills in all this background without getting lost and--more importantly--with sincerity and sensitivity. [10 Jun 2013, p.50]

[A] disappointingly thin, damp new series. [10 Jun 2013, p.47]

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]

What hasn't changed and what matters, is Mireille Enos's sodden, unshakable integrity as a detective who could outlast a pack of bloodhounds. [10 Jun 2013, p.48]

This new, fourth season isn't bad but it's a very different beast from the original, and it's not nearly as funny.

It wouldn't hurt to pick up the pace, but Graceland is a successful move toward true grittiness. [3 Jun 2013, p.43]

Director Steven Soderbergh's Candelabra is one of the smartest, tartest examples I've ever seen of that soupy genre, the Hollywood biopic. [27 May 2013, p.39]

Consider it dead on arrival. [27 May 2013, p.40]

Predictably awesome. [27 May 2013, p.42]

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]