[It] is a bit too slavish in its imitation of the "Runway'' formula, but in its opening episode, it shows signs of real promise.

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.

For some, it has become a mostly predictable, tired pattern that causes eyes to roll. But for those who can still check their critical capacities at the door--even after seven seasons--24 continues to make for pulse-pounding, nail-biting comfort food.

It evokes an era worth revisiting, reconsiders a time that was an important chapter in our history and gives us a monumental performance by Keaton.

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]

There is certainly enough right about the first hour of State of Mind that I'll be back for at least one more session with Ann Bellowes.

The rather trite concept is freshened up by some colorful writing that actually happens to be funny, and by engaging "Odd Couple"-like performances from Sheen and Cryer, who play well off each other. The series is also a prime-time rarity - a sweet domestic comedy that isn't overly sappy. [22 Sept 2003, p.D01]

Fresh and fascinating.

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]

CBS has presented viewers with an exciting gift this fall. Their "Five-0" update not only doesn't stink, it's an action-packed, easy-on-the-eyes thrill ride that is slicker and sexier than the original series that aired from 1968 to '80.

Hamming it up big time, William H. Macy plays a booze-addled father of six kids in this uneven drama that seems more intent on taking its pay-cable liberties (nudity, profanity, etc.) to the extreme than weaving an engaging story.

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.

A compelling thriller.

The series gets off to a reasonably strong start, propelled nicely by some decent (and, for network TV, hard-edged) writing and engaging performances by an above-average cast.

The bottom line on Season 2 of The Newsroom is that it's unlikely to sway viewers one way or another. Devotees will continue to embrace it, and the haters will continue to hate.... As for this critic, let's just say that I'd rather watch an energetic, well-acted, provocative show that aims high and sometimes falls short, than one that doesn't aim high at all.

So far, though, it has mostly kept its ambition in check, preferring to follow the playbook of a typical crime procedural, with a little more darkness and a little less energy.

As messy as it sounds, the cast is good, the show looks great and the executive producer is Greg Berlanti, a writer whose recent track record ("Everwood," "Jack & Bobby," "Brother & Sisters") is unmatched.

It's this sense of wonder that sets "Enterprise" apart from the more stodgy Star Trek offerings and injects some much-needed fresh energy into the 35-year-old franchise. [26 Sep 2001]

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 writing... is sharp and rich. The production -- from the design of the carnival to the evocative cinematography -- is dazzling. The direction from the likes of "Sopranos" veteran Rodrigo Garcia is first-rate. And the acting is sensational. [14 Sep 2003]

It is a gripping and explosively acted piece that involves the New York Yankees, the Son of Sam killer and the infamous 25-hour blackout that darkened all of New York City.

While the show does contain a few obvious penis punch lines, it is so much more than its gimmicky name suggests, offering plenty of heart, along with worthwhile riffs on the national economy, American resourcefulness and, yes, gender dynamics.

Certainly, Dominic Purcell creates quite a presence as this man of mystery. [20 Sept 2002, p.1]

Within the first 15 minutes, you realize you have jumped onto what could be one hell of a thrill ride.

Johnson is such a multi-layered character, and Sedgwick plays her so beautifully that you can forgive the weaknesses of the opening episode and hope they get smoothed out in what could be a very long run for this show. [13 Jun 2005]

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]

While it is more intriguing than gripping, the drama has considerable power in its best moments, many of which will come in the last episodes.

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.