Critic Reviews
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Clearly, this is not a cookie-cutter network offering; it's bold, at times difficult, and aiming for greatness. [20 March 2000]
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A razor-sharp sitcom that celebrates the human capacity to survive dysfunction. Apparently, that which doesn't destroy us makes us funnier. [20 March 2000]
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A dark but wildly funny comedy. [19 March 2000]
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Some of the jokes here will jolt you from the typical sitcom complacency - no slack-jawed viewing allowed here - and if each episode doesn't quite find a moment of redemption after mining these hearts of darkness, they leave you amused enough that you can continue soldiering on in your own imperfect life. [20 March 2000]
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Titus deftly carries off the delicate trick of creating comedy out of a background of tragedy and chaos, and for that it deserves a look. [20 March 2000, p.E-7]
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"Titus" -- the series -- is manic and makes its home on the black side of comedy. It's clearly not for everyone. But it also turns convention on its ear and takes big risks that sometimes produce laugh-out-loud payoffs. [20 March 2000]
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This is a subversively smart show, and better still a shockingly funny one. Adults who enjoy the edginess of "Malcolm in the Middle" could find a new favorite here. [19 March 2000, p.F1]
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The danger lies down the road, if Titus the creator runs out of real-life fodder for Titus the character. At that point, "Titus" could become a sitcommy caricature of itself. But, in the early going, Titus is on the money when he says, "Anything is funny if the setup is right. [20 March 2000]
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Of course, it helps immensely that Christopher Titus's flamboyantly roguish father, Ken, is portrayed with genuine rascal charisma by Stacy Keach. An actor known mostly for his dramatic roles, Keach's exuberant comic performance is a cockeyed revelation. He could easily become the show's break-out personality. [19 March 2000, p.1L]
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The talking-to-the-audience material is shot in black and white to signify its staged artiness, but it also makes the show's standard sitcom scenes seem even livelier than they are — a canny strategy.
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Clever, funny and troubling. [20 March 2000, p.1E]
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Making audiences feel weird merely for laughing is a sign of something quite wrong, or quite right; here it's mostly the latter.
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The show is both derivative and distinctive, proving that standup comics can still adapt their acts to the sitcom form if it's the right comic and the right act. [20 March 2000]
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It's well-written enough, even stylish at times. It's just not very funny. [20 March 2000, p.45]
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