It is smart, challenging television that is respectful of its audience's minds and delves into a corner of our world where no series has gone before. [28 March 2000]

A dark but wildly funny comedy. [19 March 2000]

This series is not only funny but actually seems to have something on its mind when it comes to religion and man's spirituality. [6 March 2000, p.1E]

With all this going for it, the real question about The Beat may be whether a smart audience will ever find it buried on the testosterone-driven UPN schedule. The series has some kinks to work out but it's definitely worth tracking down. [21 March 2000, p.1E]

While the Daniels drama does have some bounce to its step, at least early on, it isn’t as instantly appealing and distinctive as Empire” was.

Dockery’s rousing chameleonic performance, along with the tension-filled interplay she has with Botto, are enough to have us hoping that Good Behavior will ultimately be as good as it can be.

With the help of her stellar cast, creator Sharon Horgan (“Catastrophe”) manages to find plenty of humor in domestic turmoil.

Fearless, relatable, goofy and charmingly awkward, she’s just a joy to watch. She has a strong voice, too.

The good news is that Crisis eventually gains a bit of traction in its stretch run, but it’s much too late by then.

So far so good. ... A show that exudes a distinctive vibe and carries some social relevance.

We don’t know if Pitch can sustain its uplifting premise, but after a fun and engaging pilot episode, it’s ahead in the count.

The show is brimming with salty humor, cynical rants and plenty of raunch. But for all its bleak irreverence, You're the Worst also can be surprisingly sweet, tender and even poignant.

Queen Sugar is deliberately paced--almost annoyingly so at times--and the opening scenes of Tuesday's pilot episode have a disjointed feel to them. But the show eventually finds its footing and packs an emotional wallop as you get to know and care for its characters.

Though the show contains laugh-out-loud moments, it occasionally proves to be more melancholy than mirthful. Along the way, it has some sharp things to say about race, gender, the absurdity of celebrity and the nagging fear of failure. Glover's Atlanta, it turns out, has all the right beats.

[Ricky Jerret, played by John David Washington (Denzel Washington's son) is] the show's secret weapon--a handsome, energetic live-wire who expertly conveys the brash ego and subtle insecurities of a player whose career may be fading into the sunset at the age of 30. But make no mistake, this is Johnson's baby. With that all-glowing smile, he brings his A-game to Ballers while always managing to look good in a suit.

This adaptation of a BBC series differentiates itself in enough ways to keep things fresh and riveting.

More occasional eye-rolling ensues over the oh-so-earnest portrayal of Kelly Ann (Imogen Poots), a roadie who has become disillusioned with the state of the music biz. "I have to be a fan of something, or I'm nothing," she moans. On the plus side, Crowe's series does contain a beating heart, and it clearly is brimming with his undying passion for music.

The overall result is something rare--a film that sucks you in as a riveting thriller would, but also one that will make you pause to ponder issues of race, domestic abuse and our obsession with celebrity.

Told with style and assurance, this "Roots" revival is packed with credible performances, including Anika Noni Rose's terrific portrayal of Kunta's daughter, Kizzy in her older years, and Rege-Jean Page's charismatic turn as her son, Chicken George.

All the Way, at times, feels overstuffed, but you remain riveted while watching Cranston delve into the many layers of Johnson's personality, from folksy warmth to ruthless rage to the nagging insecurity over being considered an "accidental president."

It brings something fresh, bold and thrilling to prime time.

Mirroring Hill's demeanor in those incendiary hearings, Washington is all grace under fire, delivering the graphic allegations in a calm, composed and measured manner while nailing every nuance.

The Catch contains all the ingredients we've come to expect from the folks at Shondaland: glossy production values, a diverse cast, hyper-articulate dialogue, hairpin plot twists and lots of eye candy and writhing hips. If you've been a fan, you'll surely want to take another ride on the roller coaster. If that stuff makes you want to spit at your TV, it's best that you keep your distance.

Vinyl, after all, is at its best--and most interesting--when it sticks to the music industry with its oddball characters, egos and hedonistic ways.

Clearly rooted in life experience, Transparent continues to be a series that understands both love and pain.

Yes, this is chilling stuff. And provocative. It makes you ponder just how precious freedom really is and what kind of sacrifices you would make to maintain it.

Wu does what he can, bringing a steely authority and mad kick-butt skills to the role. But the show is hampered by too many overly broad characters, genre cliches and the kind of groan-worthy dialogue that leaves one restless.

The series takes its horror seriously. There are genuine jolts, along with lots of intense, turbocharged action sequences, and fountains of blood that give the story visceral oomph. The faint of heart may want to sit this one out. On the other hand, there's also enough comedic energy to keep things from feeling excruciatingly brutal.

Supergirl pretty much hits the beats you expect it to hit. There are rollicking battles enhanced by lots of digital trickery. There are hints of sinister threats to come, and some plot twists probably aren't as surprising as the writers think. Still, Supergirl is made with style and assurance, and it does enough to keep things interesting.

Although the first episode runs for a bloated 90 minutes, it provides only scant hints of a main plot thread.... So once again, I'm confronted with an AHS season that appears to be more gross than engrossing. Alas, I may not be able to check out of the Hotel Cortez, but at least I can change the channel.

The show does a decent job of setting up its premise, the pace is brisk enough, and there are plenty of visual flourishes, but somehow. it all feels a bit too mechanical. It doesn't help that, with few exceptions, the new characters are pretty juiceless.

He might want to switch to decaf for future shows. Seriously, though, Colbert did manage to hit plenty of comical high notes on an eventful night that featured actor George Clooney and presidential candidate Jeb Bush as his first guests.

[Dinosaur-rock] cliches still pack a comedic punch because, well, they're just so outlandish and evocative. The key is to bring some fresh twists to them, and for the most part, Leary's bunch succeeds in doing so.

It's familiar sci-fi territory, of course, but the show tackles it in intriguing style while delivering some suspenseful touches.

Unlike the pilot movie, which came across as stilted or even phony in spots, tonight's show is crafted with a smooth blend of action, character development and convincing special effects. [26 Jan 1994, p.3C]

All of the lead actors dig deeply into their roles, with Farrell playing the wary, weary burnout to perfection, and Vaughn shifting into full-throttle intensity. The story is dark and atmospheric--just the way fans like it. Meanwhile, the first three episodes hint at enough buried secrets and fresh angles to indicate that the story still has a lot to give.

The show is a tour de farce for Warburton, who has the commanding gusto of a superhero and the deadpan style so appropriate for the material. [8 Nov 2001, p.D01]

Duchovny, as usual, is a kick to watch. He brings just the right touch of casual charm and swagger to the role. Meanwhile, Anthony's Manson is appropriately chilling, even as he utters kooky lines like "I pulled you out of the womb of ignorance and into the light of now." And a sound track full of evocative tunes from the era keeps things humming. All in all, Aquarius makes for a cool summer diversion.

The writing, which delivers humor and heartbreak in near equal measure, contains enough observational shrewdness to keep the endeavor engaging. And the performances by this all-star cast don't hurt, either.

The production is bolstered by some stunning visuals and a few tantalizing plot twists that I won't go into here. Also, the we-don't-need-Batman female empowerment angle holds some intrigue. [9 Oct 2002, p.A1]

The acting is snappy and the characters are funky, while the cinematography is grainy and pleasingly unpretty. [17 Sept 2002, p.D1]

Through it all, Bloodline sucks you in and keeps your nerves in a vise.

Scenes unfold at a leisurely pace and are punctuated with visual flourishes that allow us to soak up moods and emotions. On the other hand, the show suffers from stretches of starchy dialogue, and the uneven pilot episode doesn't adequately deliver on the promise of what's to come.

House of Cards remains a slick and suspenseful--if not exactly layered and nuanced--saga that sucks you in from the start.

The Slap, a provocative new NBC drama, is a saga that gets under your skin. That doesn't mean it's a great show, but I imagine the issues it raises will spark plenty of spirited dinner-table chatter among those who see it.

Allegiance does a decent job of propping up its crazy premise with some juicy intrigue and solid performances, though Stenhouse comes off as rather bland.

After watching the show's first three episodes, I'm intrigued, if not totally wowed. But I want to see more.

The Missing, an eight-hour thriller coming to Starz on Saturday, is so tantalizing and haunting that it qualifies as a must-see, even for viewers who might be suffering from serial crime fatigue.

Marin-based screenwriter Jane Anderson and director Lisa Cholodenko keep the timeline but ditch some of the stories, while proceeding in a leisurely fashion that allows us to really get to know the key characters.

What ensues is a dizzying, turbocharged confrontation designed to keep your nerves in a vise (or your stomach in knots). Of course, it's all punctuated with the violent reverie of an all-out zombie splat-fest. So, basically, it's The Walking Dead on crank.

An emotionally powerful dramedy.

So far. so good.

With striking eyes and a seductive smile, she's pretty much the only thing you see when she's on the screen. But Gugino doesn't get by on looks alone. She impressively balances toughness with a sultry vulnerability and plays Karen with a well-modulated nonchalance that brings an air of mystery to the character. And through it all, she avoids coming across as a cartoonish action hero. [1 Oct 2003, p.D01]

Much of Tarzan feels more like a marketing strategy than a show, and it seems to have a few flaws that "Smallville" doesn't. Chief among them is the incoherent plotline, which, in the pilot at least, does little to explain the motivations of Pileggi's character. [4 Oct 2003, p.D01]

There are some bumpy spots in the first two episodes, but "Life" is worth sampling. [7 Oct 2004]

A show that, while ponderous at times, ultimately adds up to some very absorbing television. [10 Oct 2000, p.D01]

"Falcone" essentially is "Donnie Brasco" lite--tightly plotted and mostly absorbing, but watered down in terms of acting and storytelling (not to mention dialogue). Still, it's sharper than most of the typical network fare. [4 Apr 2000]

Under Soderbergh's direction, The Knick is a dark and gritty saga that captures a time of major changes--not only on the medical front, but in industrialization and race relations.

Saturday's opening episode has a frustratingly deliberate pace. But "Outlander" eventually gains traction and becomes good escapist fun with doses of intrigue, suspense and, of course, steamy romance.

The pilot managed to hold my interest for the most part, and I'll credit Hall for bringing a moody allure to the role...Who knows? The show could still flatline over its 13-episode run, but for now it seems to be alive and kicking. [16 June 2002, p.C4]

Though "Christy" has predictable turns ... it's always involving and the characters are so appealing that you'll surely want to see them again. [3 Apr 1994]

What we're left with in The Leftovers is a show that, at least early on, is nothing but chaos and dread and bleakness and chill, as it relentlessly delves into the most troubling aspects of human nature.

At least "Watching Ellie" takes some risks and tries something different -- even if the risks don't translate to laughs and the concept doesn't really work. [26 Feb 2002]

Unfortunately, what hasn't changed is that this comedy about the life of a neurotic nightclub singer simply isn't very funny. [14 Apr 2004]

Although the pilot is hampered by a few cliches and acting that feels forced at times, the main leads are likable, the relationships involving and the storylines provocative. Consider it a promising start. [14 Apr 2003]

The Australian actor is again in Emmy-caliber form, delivering a gripping character study of a man who isn't comfortable in his own skin.

Stargate SG-1 is mainstream sci-fi television of the no-brainer genre. Light on intellectual depth and heavy on action, it seems destined to play toward a younger age group than the Star Trek and Babylon 5 sort of science fiction shows. [24 Jul 1997]

As TV science fiction goes, there's nothing particularly bad about this spinoff from the long-running Stargate series. On the other hand, there's nothing particularly good about it either. [15 Jul 2004]

There are a lot of characters and budding plotlines crowding the "Soul Food" pilot, which give it a disjointed feel at times (It tales a while to sort things out). In addition, the deployment of Ahmad as a sporadic narrator comes off as rather clumsy. ... But "Soul Food" eventually gains traction and becomes thoroughly involving especially by its second episode. [26 Jun 2000]

Though tonight's two-hour premiere episode is fat with special effects and looks far richer than most TV shows, the concept is already red with rust. ... [The] sense of humor is about as subtle as a whoopee cushion. [18 Mar 1994]

At times, the storytelling is hopelessly and irritatingly convoluted. But you have to admire the ambition of the filmmakers in tackling both tough subjects and complex themes, a cast that rises to the occasion and the "24"-like kinetic energy. [26 Jan 2004]

Audacious plot lines help to keep Orange Is the New Black so unusual and refreshing. It's the one prison show that you may never want to escape.

The series' first episode was lifeless, with perhaps three good lines in the entire half hour. Almost all of the film's charm seems to have drained away during the transition to TV. Perhaps later episodes will be better, but I wouldn't hold out much hope. [26 Feb 2003]

Gone are the wit, the entertaining twists on sci-fi films and actors (outside of Gross) who knew they were doing a sendup of the genre. And the special effects are so cheesy that it looks as if the series cost about $1.95 to make...It's hard to believe that Sci Fi canceled the fine "Farscape" to put this series on the air. [28 Mar 2003, p.TV]

Blanchard is lovely and plays Cher so well that you'll never miss Silverstone. Many of the key supporting actors from the movie reprise their roles in the TV series, but the chief saving grace is the clever script. [20 Sept 1996, p.3E]

What [director Ryan Murphy] delivers is a film with piercing emotional honesty that feels rough, and real, and intimate, and truly full of heart.

The early episodes of Project Greenlight do a great job of demonstrating just how important access is in Hollywood. [2 Dec 2001, p.C04]

The revived 24 is still instantly involving and packed with a dizzying rush of suspenseful crescendos. The new Jack, meanwhile, is the same as the old Jack, which is to say he flips the bird in the face of terror and squirms his way out of major messes like a gun-toting Houdini--all while managing to make a man purse look good.

It's fast-moving eye candy and that's about it. [12 Jan 1997, p.4]

This is a show that has its heart in the right place, but is, ironically, pretty mindless.

The humor in the pilot is anything but razor-sharp: The writers too often confuse coarse language for jokes, and a subplot in which Calvin coaches a Nigerian co-worker on the finer points of the booty call sputters badly. Still, there is promise here, thanks mainly to a collection of intriguing characters. [14 Aug 2005, p.F4]

Mad Men can still keep us spellbound.

The dialogue is often sharp, well-observed and very funny. It is sexy and, occasionally, raunchy in both language and love-making. The cast members make the lead characters warm and interesting. [16 Jan 2004, p.7G]

The story piques your curiosity, but it takes too long to gain traction. The characters are certainly functional, but they lack compelling quirks. The subject matter is worthy, but it just doesn't crackle.

Las Vegas has proved to be an entertaining guilty pleasure. Flashy, often trashy and slickly produced, the drama may be fluff, but it's good, sexy fluff with James Caan on hand to provide a bit of gravitas. [13 Sept 2004, p.1C]

Created by Gary Scott Thompson ("The Fast and the Furious"), Las Vegas appears to have all the ingredients of a compulsively watchable guilty pleasure. [22 Sept 2003, p.D01]

1) It's not all that funny, which could be a problem considering it's supposed to be a comedy, and 2) It continues a rather arrogant presumption on the part of show-biz types that we're all ceaselessly interested in the inner workings of their industry. [4 June 2005, p.C01]

Based on Sunday's pilot episode, Crisis has the potential to be one of the spring season's most addictive network offerings. It's intense and suspenseful.

It's not as atmospheric and artful, nor does it exude the same visceral sense of place [as French series "Les Revenants"]. But taken on its own, it is an absorbing, well-paced, thoughtfully rendered production with a quality cast that ranks as one of the better new winter shows.

It all adds up to a trip that's well worth taking.

While The Red Road is not quite in the same league as "True Detective" or "Broadchurch," it is better than most, and it succeeds at drawing dramatic tension not from lots of plot-twist fireworks, but from the long-simmering resentments, private shames and historical injustices embedded in a community few viewers are familiar with.

The Cold War may be over, but this addictive spy thriller is just heating up.

In desperately straining to be so uncommonly edgy, so explicit and so provocative in its sexual candor, the show all but tramples its dramatic structure in the process. [3 Dec 2000, p.C05]

Murder One is a giant step above the other new fall attractions and proof again that Bochco is America's most experienced chef when it comes to cooking up irresistible adult drama. [19 Sept 1995, p.1D]

Whether Rome attains that stature is entirely up to the Nielsen gods, but one thing is certain: The series is a lusty, violent, rollicking saga that is sure to seize plenty of initial attention, if not for its ravishing production values, then for its rampant depiction of ancient-style decadence and debauchery. [27 Aug 2005, p.F4]

Put together, all these elements make Rescue Me one of the television's top dramas, on a par with the likes of "Deadwood" and "The Shield." It is that rare TV series that offers insight, generates heartfelt emotion and challenges the viewer to consider the darker corners of the soul. [21 June 2005, p.2D]

There is no question Rescue Me walks a very thin artistic line. The miracle, in television terms, is how brilliantly it works. While heart-wrenching at times, it is also a very funny series. [21 July 2004, p.6E]

Yes, this highly addictive -- and often painfully funny -- soap can trample all over your comfort zone, but that can be a good thing if you give it some slack. It is rough and visceral and intense and defiantly alive -- commendable qualities, considering how so many banal (and derivative) TV dramas these days carry the mind-numbing effect of pre-op anesthesia. [22 June 2004, p.D01]