What makes Red Oaks work extremely well is that it not only has a sense of humor, it has heart.

It is an odd mix of horrific terrorism and popcorn thriller. But, at least in the first episode, it somehow works.

Despite clawing so desperately to achieve quirkiness, No Tomorrow could work. It depends on whether chemistry can develop between Xavier/Sasse and Evie/Anderson. It doesn't quite work in the premiere, but chemistry can develop.

Pitch feels phony from the get-go. The characters are caricatures. The premise is ludicrous. And the Big Plot Twist is manipulative, derivative and gob-smackingly stupid.

Greenleaf is a big ol' soap opera. A pretty good soap, as a matter of fact, filled with more than its share of characters who are instantly unlikable.

[Louie] Anderson and Martha Kelly--who delivers a supremely deadpan performance as Chip's downtrodden friend--are the best things in Baskets, which is so aggressively downbeat it washes away most of the humor.

It's not a great show, but it's decent summer viewing. There are some laughs, and I liked it more as it went along.

It can be a bit much at times, but there's a great supporting cast--including John Michael Higgins and Nicole Richie as the news anchors--and there are enough laughs to keep it moving.

It's silly and sometimes slapstick, but it works. And what makes it work is that Lithgow is so good as the alleged murderer.

Not only does it feel unoriginal and tired, but it comes across as a vanity project for star/executive producer Jason Bateman, who also directs some episodes.

It's a fine drama, and Fox should be applauded for commissioning and airing this project.

Animal Kingdom is not exactly a cerebral series. It's a show about guys doing guy things, complete with action sequences. And the characters are intriguing--although a little bit of Barkin goes a long way.

I was pleasantly surprised when the new two-part Salem's Lot, based on the Stephen King best-seller about a town of vampires, spooked me. And it did it the old-fashioned way, with genuine scares and classic horror elements. [18 June 2004, p.D17]

It's not great, but it's not bad.

So, yeah, poop and pee jokes. Not funny. Not clever. Not worth watching.

The movie wasn't that great. It was just sort of OK. The series seems to be in pretty much the same territory.

Once you get over what might be the initial shock of Andrea's dirty mouth and incredibly frank talk, she's a very appealing character. And I'm Sorry is amusing. Sometimes even laugh-out-loud funny.

It's chaotic, sometimes almost incoherent. Wildly inconsistent, it veers from dark drama to lighthearted fun.

This is a clever, laugh-out-loud sitcom written by adults, for adults. It's not too adult for children, but there are definitely jokes that will sail over their heads.

Incorporated looks great. It's intriguing and has moments of excitement, but lapses into tedious scenes that'll make you want to hit the the fast-forward button on the remote.

If it doesn't get weighed down by its pedigree, its iffy network or its own rather far-reaching aspirations, Dawson's Creek may be worth a long and winding run. [20 Jan 1998, p.C7]

It's pretty slow. This is related to the movies, but it's not a remake. It's just ... similar.

It's told with multiple storylines populated by myriad characters, and it's sort of slow going.

The Arrangement gets off to surprisingly good start, and I'm interested to see where it goes.

Braindead is pretty much completely insane. But in sort of a good way. At least for a while.

Nobodies is OK. Some of it is quite funny. And some of it really isn't.

American Horror Story: Hotel looks fantastic.... But as we've come to expect from Murphy, Falchuk and AHS, the storytelling is derivative; the scares are non-existent; and it's all about style without much substance.

The first two hours are well worth watching. It's funny stuff.