Tuesday's pilot is not as consistently funny as one might hope and Mindy's flightiness could turn off some viewers, but she and the show are amusing enough to warrant watching.

In its first two episodes The Neighbors is an enjoyable, broad comedy that encourages co-viewing among parents and their children.

The series remains an intense, engrossing crime procedural with strong moments of character development, but Mr. Cross gets a bit sloppy in his plotting.

Some of the pop-culture humor and creatures owe a nod to "Farscape," but the camp level is high and can be mighty funny.

It plays more like a science thriller than a biopic, with Feynman receiving clues scribbled on pieces of paper by NASA engineers.

The composition of the cast and presence of a grandma (Lupe Ontiveros) makes the show structurally and thematically similar to ABC's "George Lopez Show," but Tucson is more entertaining and better written. [20 Sept 2002, p.40]

It’s entertaining enough, filled with battles and occasionally interesting character turns and cultural twists (particularly when the priest joins a raid on a church), but it’s not essential quality TV viewing along the lines of “Mad Men,” “The Good Wife,” “Game of Thrones,” etc.

How to Get Away with Murder is not by any stretch transcendent TV but it is great, gonzo fun, a breakneck-paced, well-made prime-time soap that, if future episodes are as entertaining as the pilot, may easily become viewers’ new TV addiction.

Some of the plot falls into the No-Good-Can-Come-From-This category, especially Jensen’s cover-up efforts and his willingness to call a truce with Kopus. But mostly The Red Road, written by Aaron Guzikowski (“Contraband,” “Prisoners”), is a thrilling enough, character-driven crime drama that doesn’t shy away from cultural explorations, especially through Ms. Tunie’s Earth Mother character.

This Project Greenlight lacks the visual flair and polish of "The Chair" but it's people-talking-about-making-a-movie-in-drab-offices vibe is similar.... Project Greenlight is more focused and that streamlined approach continues to make it the superior movie-making docuseries.

An enjoyable addition to the long-lived genre. [12 July 2002]

The show’s contestant characters are the expected mix of types found in a reality show, although Unreal tries to ground them in specificity that defies TV stereotypes, which works better with some of the women than with others.

It's a static look that makes these half-hour shows a bit tough to endure visually (don't try watching two episodes back-to-back). This format lends itself better to web shorts but it is fun to see Dr. Wallice's world expanded, especially for fans of comedy that doesn't telegraph a joke well in advance.

As long as you're OK with comedy-of-the-uncomfortable, then IFC's The Increasingly Poor Decisions of Todd Margaret is by far the funnier of the two David Cross-Will Arnett series airing this fall (the other being Fox's "Running Wilde").

It's not the best cop show ever but it's certainly an above-average effort for fans entertained by quality TV drama.

The program features a mix of tones that don’t always sit together comfortably, but taken as a whole this unusual period drama entertains as it winds its way to introduce its lead characters in the premiere episode.

Every television series launches on a wing and a prayer, perhaps none more than this entertaining, glossy drama.

The Vampire Diaries is no "Buffy the Vampire Slayer"--it doesn't have that series' depth--but it's plotted well enough to mix supernatural action with the occasional game of Kiss Me or Kill Me and some surprising cliffhangers, too.

Not only do the other stories save True Blood--before you can get sick of Sookie and Bill, Blood shifts its focus to more interesting characters--but the show's persistent humor breaks through with enough frequency to have an impact.

It's the students that make Teach a sometimes interesting show. They drive the story's forward momentum as much as Mr. Danza does and quickly emerge as his co-stars in a program that touches on teacher quality, student apathy and the plight of urban public schools.

There's definitely some amusing moments but the show will have limited appeal.

Everything about City does not spin with equal balance. The pilot's plot (the mayor stumbles into a gay rights controversy) is so hackneyed and out-of-touch, it makes you wonder if the writers have been to New York in the last decade. But the spin doctors at Spin City insist the plot's creakiness is an aberration - and so many other things in the show go well, I'm inclined to believe them. [17 Sept 1996, p.D-4]

There’s a lot to like about TNT’s dark comedy/​crime drama Claws, including a terrific cast of women playing some unusual-for-TV characters. But the show would be stronger if it had a more unique story engine to drive its plots.

As a drama, The Last Tycoon is slightly less successful. Occasionally plodding and without a lot to say in the early going that isn’t spelled out in capital letters--NAZIS = BAD!--early episodes offer good, not great drama.

It's a generally strong episode as House attempts to annoy his doctors so much that they'll sign off on his departure.

Once you get past the sex and if you can endure the sadness of the stories, Tell Me begins to have an addictive quality.

There’s no question that Man Seeking Woman is not run-of-the-mill entertainment, but whether its weirdness will appeal or repel will depend largely on the openness of viewers to new, strange TV experiences.

It remains to be seen whether either will merit watching for a full season but the pilot does exactly what it should: It intrigues and makes the case for viewers to come back next week for more.