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]

For at least the first two episodes, "Jericho'' works better than it should, and there are some striking moments and images.

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]

It doesn't work, largely because there's not enough wit from creator and star Louis C.K. to make the vulgarity anything more than an exercise in blue.

Warm, clever, appealing and a lot of fun.

Rogue does a nice job of methodically building an unsettling mood.

With her winning smile, Southern twang and a tough-but-tender demeanor, Giddish makes for an instantly appealing lead. Unfortunately, she's about the only thing going for Chase, which is hampered by an unimaginative script.

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 Playboy Club isn't in the same league, or even the same galaxy, as the critically adored "Mad Men." While the latter offers nuance and depth and keen insights into its era, the former settles for stock characters, cliches and superficiality, punctuated by a lot of come-hither looks.

"Free Ride" is crude, mean-spirited, and not nearly as fresh and innovative as the producers think it is.

Tonight's opening episode is somewhat better than the pilot, although it's clear there is still work to be done in defining the characters and setting an overall tone.

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]

The show is overly ripe in its writing and spends far too much time exploring the whiny angst of the teens.

Next Thursday's outing is much better [than the pilot], suggesting the series could generate some laughs over the long haul.

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

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

Judging by the pilot, George Lopez is no laugh riot, but it definitely has its moments, and it's refreshing to find a touch of Mexican-American flavor on TV somewhere other than Showtime and Nickelodeon. [27 Mar 2002, p.D01]

Corddry manages to make scenes work that otherwise would have viewers reaching for the remote.

Based on two preview episodes, Anger Management is at least more interesting than "Two and a Half Men" (take that, Ashton Kutcher). That's certainly not saying much, though.

There are some very funny lines and moments... Unfortunately, the good stuff isn't worth slogging through the rest of this sitcom.

While it hardly breaks new TV ground or sends off the kind of sparks you want in a first-rate drama, the series has a certain watchable quality to it.

This is David E. Kelley on his worst days with wildly improbable plot developments and much forced humor.

With her Texas twang and feisty demeanor, Giddish is instantly engaging, and she and Bishop share a nice on-screen chemistry that make them worth our time. As for the Past Life cases, they are adequately compelling.

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.

While you have to give them credit for trying something at least a little different, the creators and cast try way too hard to pull laughs out of the situation and the show comes off as forced and unbelievable.

There's not a lot wrong about "Brian.'' But there's not a lot right about it, either.

Could prove to be a hit without being very good. [20 Sept 2002, p.1]

In its early episodes, "American Dad" not only follows the lead of "Family Guy" but also throws in digs at U.S. political institutions. [1 May 2005]