All the weird, impulsive jokes are as outrageously funny as they aspire to be. [22 Sept 1994, p.1C]

The writing has picked up considerably since the pilot. But the real reason to try this show is the cast.

As is the case of "Monk'' at its best, ["Psych"] isn't as much about the crime mysteries as it is a vehicle for lighthearted fun.

The patter is more what you'd hear from reasonably clever people in real life, not a bunch of lines thought up in the comedy's writers' room.

A creepy, atmospheric, sometimes downright scary hour of TV.

Ringer may not be able to match the Master of Suspense at the top of his game, but it does a great job of creating a constant state of queasy tension.

"Ranch House" is the most ambitious of the "House" projects.

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.

They [Robin Williams and James Wolk] seem to be having a blast playing off one another, and their comedic energy is infectious.

By the end of the first hour of Tell Me, I found myself caring deeply about what was happening to the couples and whether, in the end, they would find some joy of sex and emotional satisfaction. And whether I care about the characters is always my bottom line as to whether a series succeeds.

While it's not totally painful, it's so hopelessly incoherent that you'll probably get a headache or two if you actually stick with it for the full three days and six hours.

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]

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]

What really makes the opening episode work, though, is the chemistry between Grammer--as Chuck Darling, an egotistical newsman who has returned to Pittsburgh after his career stalled--and Heaton as his uptight longtime co-anchor, Kelly Carr, who isn't thrilled by his return.

What's more bothersome about Skins from a critical standpoint is the thin plotting, the aimless narrative, and the generally flat and artificial feel of the production.

"Justice" is slick, fast-paced and stylish, with enough twists to separate it from the glut of shows in its genre. But it's also one of the most extraordinarily cynical shows to come along in some time.

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.

All this talent can't make the premise - a police detective talks to murder victims - work.

All Cane has going for it now is the cast. In tonight's opening episode, the tone is all over the place

Until "Carnivale" fulfills more of its promise, my enthusiasm is restrained. [3 Jan 2005]

While these [butt-kicking] scenes contain a certain intensity and exhilaration, you can't help but think that, had the writers of Missing devoted as much time to plot and character as they did to the fighting, they might have wound up with a much more enjoyable show.

I'd rather spend time with an edgy show that aims high and sometimes falls short, than one that doesn't.... Welcome back, Mr. Sorkin. It's a pleasure to have you.

"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]

For now, though, Delany is enough to hold our attention. With a deft touch, she blends just enough warmth and vulnerability with the sass and smarts to make it all palatable.

"Commander'' looks good, summons up some real energy in key scenes and establishes a certain warmth in its portrayal of the Allen family.

Through the early episodes, nothing really happens that you couldn't see coming. Still, the setting is so seductive, the period details so vivid and the acting so stellar, that it's as intoxicating as a potent mojito.

Breakout Kings manages to compensate for its lack of creative ambition with some lively writing, good pacing and an off-kilter sense of humor. It is also blessed with a colorful cast of characters.