State of Mind is a smart and edgy series featuring a fresh and talented cast, solid writing, good music and a great premise.

While the characters here haven't yet had the chance to become as interesting as Carrie Bradshaw and company, this great adaptation of Gigi Levangie Grazer's story should help fill the void left by "Sex and the City."

Crews quirky mannerisms don't overwhelm the plot, and the show does strikes a nice balance between whimsy and its much darker backstory.

Proving that lightning can and does strike twice, High School Musical 2 actually surpasses the first movie in sheer energy and verve.

This world is inhabited by every type of get-rich schemer, social pariah and general loser, but is given enough depth and emotion to draw viewers in.

As good a couple as he and Sarah Michelle Gellar made, Boreanaz was too boxed in by the "Buffy" love story. The actor, formerly tagged by some as just another pretty face, is given much more to do here and proves that he can handle the load. [4 Oct 1999, p.4]

Director Coky Giedroyc's grittier, reality-based approach to Sarah Phelps' adaptation contrasts sharply the popular and nostalgic musical account "Oliver!" Nevertheless, this version does stay true to Dickens' original intent to call attention to social evils in harsh times.

Writer-director Mike Robe does a nice job of exploring the repercussions of life choices.

An affable new sitcom.

But more often than not CSI isn't sure if it's trying to be intellectual or just sensational. John M. Keane's heavy-handed music, inversely proportional to the events onscreen, doesn't help. Subsequent episodes would do better to pull back on attention-grabbing stunts in favor of the mystery and drama that lies at the core of this premise. [4 Oct 2000, p.2]

It all makes for an intriguing setup that doesn't quite gel, even by the end of the third episode.

More like great water-cooler gossip than actual true-crime material, the self-deprecating humor helps but doesn't exactly distinguish the series from other examples of this genre.

Sticking absurdly close to the same formula as the original, down to the opening theme and the filming style, the new version lacks that same sense of wonder and awe that Beverly Hills decadence and excesses once held over viewers.

Besides a few screwball scenes and hints at a possible pairing a la "Romancing the Stone" between Danny and moony-eyed romance novelist Kate Providence (Christine Lakin), the rest feels rather ridiculous.

About 10 years too late to qualify as provocative.

"A Perfect Day is a Christmas movie" only in the sense the movie's denouement coincides with Christmas. Otherwise, it's just a run-of-the-mill contrivance where problems are easily rectified and life can be distilled into greeting card sentiments.