Roswell

One of many shows plumbing the "growing-up" experience this season, Roswell is easily one of the best. And producer Jason Katims, who never got a chance to fully examine new love in ABC's "Relativity," should get plenty of time from The WB to use "Roswell" as a captivating way to explore young people's notions of differentness, romance and loyalty. [6 Oct 1999, p.E9]

What grabs you about Roswell is its lyrical depiction of being 16 and in love and feeling like everything you thought you knew about yourself has become alien to you. [4 Oct 1999]

Part science-fiction, part teen soap opera, part Shakespearean love story, with a healthy dose of "The Fugitive" thrown in, Roswell has more than enough to make a believer out of me. It might not be as good as "The West Wing" or "Once and Again," but it is my favorite new series of the fall season. [6 Oct 1999, p.1E]

Sweet and intelligent...A genre-bender if ever there was one, Roswell takes the "Romeo and Juliet" love story, dresses it in "Rebel Without a Cause" Americana, and then gives the whole thing an "X-Files" twist. The show is a long, long way from "My Favorite Martian" and "Mork & Mindy." [6 Oct 1999, p.E1]

The writing is sharp, and the show is surprisingly sweet and innocent. This is one teen show that could appeal even to "The X-Files" fans, thanks, no doubt, to the interesting credits that Roswell's executive producers bring to this unique and promising mix - David Nutter of "The X-Files," Jason Katims of "My So-Called Life" and Jonathan Frakes, star of "Star Trek: The Next Generation." [6 Oct 1999, p.H1]

Involving, enjoyable TV. [5 Oct 1999, p.D6]

As science fiction, Roswell is passable entertainment, sort of a less-dark X-Files. It rises above that, however, through the relationship of Liz and Max. Appleby and Behr make their characters crackle with magnetic attraction. [6 Oct 1999, p.1E]

Like "Buffy the Vampire Slayer," which also has mined adolescent alienation for ratings gold, Roswell promises to be wise, witty and watchable beyond its ostensible years. [6 Oct 1999, p.91]

The most thought-provoking new series of the year on TV. [6 Oct 1999, p.B39]

Roswell works so well because writer Jason Katims (My So-Called Life) has a deft touch. He based the show on a series of books by Melinda Metz. He taps into teen angst without going mushy, he writes humor without turning sophomoric, and he arranges tense situations without reaching. [6 Oct 1999, p.E1]

With wit and intelligence, they transform what might have been little more than high concept hokum into a clever, evocative mix of sci-fi, suspense and raging teenybopera hormones. [6 Oct 1999, p.1E]

Roswell isn't yet anywhere near [The X-]Files in emotional depth, and its sympathetic but blank-staring actors only make you appreciate the nuances that Duchovny and Anderson bring to poker-faced emoting. But if this season proves The X-Files' last, there's a chance that Roswell can step into the void and supply TV's highest-quality heebie-jeebies.

[Its] sharp writing elevates it above its strained concept.

The series is anything but ordinary, a cosmic blend of high school angst and otherworldly intrigue.

A fun show with broad appeal. [6 Oct 1999, p.D01]

Though it seems a product of calculation more than inspiration, Roswell has appeal.

Roswell is, really, not bad. But in a prime-time universe crowded with quality dramas in general and quality supernatural dramas in particular, pretty good is not quite good enough. [4 Oct 1999, p.T1]