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.