Burns puts forth a dazzling spread of vintage clips and still photographs, and his love for baseball is palpable throughout. Fellow fans will appreciate how the film celebrates the resilience and enduring appeal of the game.

A veritable treasure trove of frat-house humor. [1 May 2005]

Community can be too consciously zany at times and occasionally misses more than it hits. But from the early looks of things, it seems to be holding up just fine.

Whatever the case, it's a blast to watch Valley's character squirm his way out of a major mess, while keeping his droll sense of humor intact. Human Target never will be a big-time Emmy magnet, but as a piece of good, escapist fun, it definitely hits the mark.

A pretty lively and entertaining show, maybe the fledgling WB network's first real shot at a breakaway hit. [10 Mar 1997, p.10E]

Has a solid premise and a lavish look. The show's signature visual gimmick features characters morphing into their younger selves. Then there's the appealing Rush, who makes a very strong first impression. [27 Sept 2003, p.D01]

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

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

The story, penned by executive producer Andy Breckman ("Rat Race") gets predictable at times, but it deftly manages to mix drama and humor while bringing new twists to a shop-worn genre. [11 July 2002, p.D1]

[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.

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.

It has enough kooky class warfare, sexual shenanigans and whodunit intrigue to make for some escapist summer fun.

Viewers turned off by the bitterly boisterous, superficial and often one-sided confrontations on the cable news channels might find The Sunset Limited to be refreshing in some ways.

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.

The trick for Midler's writers will be to make sure the show is at least somewhat grounded in real-life situations while keeping the inside-Hollywood stuff from being too inside. It's funny, for example, when she expresses vengeful bitterness over losing the 1979 Oscar to Sally Field ("Norma Rae"), but it might not be so funny to hear references to her 1982 celluloid stink bomb "Jinxed." (Remember that one?) [11 Oct 2000, p.D01]

What Up All Night has over other baby-rearing shows is a refreshing irreverence.

"Thief" is a worthy addition to [FX's] schedule.

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]

From an advance look at the season opener, this season's cast is a particularly lively mix with a multimedia artist, a "Beach Blanket Babylon" costume designer, a model-turned-designer and an ex-biker among those competing.

Sunday's explosive two-hour opener boldly delivers on the promise by TNT producers to rev up both the pace and the firepower in Season 2.

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.

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.

Despite all the implausibilities and irritations, Switched manages to make a positive impression, thanks to some sturdy writing and solid performances that adequately sell the premise.

Brody's portrayal of the wise but nerdy Seth energizes The O.C. He's comical without being cartoonish, and the humorous touches he brings to the story help to lighten up a show that at times feels overly heavy. Here's hoping the script writers don't leave his character in the dust in favor of chasing more glamorous story lines. [5 Aug 2003, p.D01]

The boys are at their best when mocking the absurdities of what they find on television.

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.

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

The Michael J. Fox Show tries really hard to be as warm as a cup of cocoa yet hilariously irreverent. Maybe too hard.... On the plus side, Fox still oozes self-deprecating charm, and I love the sweet and playful chemistry he has with Brandt. Also, Pierce is a hoot as the smooth con man of a boss. More of that, please.