This show is so wrong. And I loved every minute of it. [5 Feb 2007, p.37]

This could grow into a show of more than ordinary interest. [28 Nov 2011, p.57]

The Soul Man isn't great, but it's the best sitcom yet developed for TV Land. [2 Jul 2012, p.40]

When you're hot, you're hot-which is why having Betty White in the cast has generated an unusual amount of buzz for this TV Land sitcom. But her costars-ace comic actresses Wendie Malick, Jane Leeves, Valerie Bertinelli-are the ones who add sizzle to a not too promising vehicle.

Of the large, nicely peppered cast, I especially like Vergara, who has some of the vamping yumminess of a Catherine Zeta-Jones. [8 Jan 2007, p.35]

It's dark, big-top sadism, and we wait for a story to emerge. [5 Nov 2012, p.41]

The premiere us well-shot, humidly atmospheric, but a little more urgency would be appreciated.

Up All Night is adorable without being cute. [3 Oct 2011, p.41]

Cases piddle away as everyone hashes out deals at a conference table. Realistic, perhaps, but quite the buzzkill. [20 Aug 2012, p.41]

Even with Steven Spielberg listed among the executive producers, this distant world doesn't inspire much awe. [3 Oct 2011, p.45]

It's a temperature-controlled How I Met Your Mother. [27 Sep 2010, p.56]

This is well-produced, but it could just as well be Mission:Colonial. [1 Oct 2012, p.38]

The melodrama of it all is tasty--a jumbo macaroon. [27 Aug 2012, p.43]

Scandal is about as realistic as Mamie Eisenhower Witch Hunter but it has so much headlong energy, you may not care. [9 Apr 2012, p.40]

The first few nights showed O'Brien settling in with his charmingly original humor, which is sophisticated yet twerpily silly. [29 Nov 2010, p.41]

The show is a lusty soap opera that aspires to the pulsating, cutting-edge glamour of Cate Blanchett's Elizabeth. It's a little ham-fisted for that. [2 Apr 2007, p.37]

Skeet Ulrich and Corey Stoll are well-paired as detectives, and Alfred Molina, looking like an irascible owl, adds some harrumping power as deputy DA. [18 Sep 2010, p.40]

Annie calls for some sort of inner steel, but Perabo looks less like an untested agent than an overwhelmed intern.

It takes a few half-hour episodes before the tone gels. [16 Jan 2012, p.39]

The one great redemptive asset--and it's significant--is Kiefer Sutherland. [26 Mar 2012, p.41]

This doesn't have the stiletto kick of the CW's Nikita, but it's frothy, sexy, relaxed--a brief, all-expense-paid vacation. [27 Sep 2010, p.55]

Tudor history is irresistible, even if the bedroom gymnastics here seem more in keeping with the Playboy Mansion than a royal palace. [19 Apr 2010, p.47]

The series has developed its own original rhythm, each week breaking cases down into unexpectedly punchy vignettes. The cast is excellent. [6 Dec 2010, p.50]

Thorne has the right bristling, combative energy for all this commotion, but the pilot is hard to swallow. [4 Jul 2011, p.38]

Traffic Light is better than NBC's Perfect Couples--the jokes are more relaxed, and the cast includes NCIS's Liza Lapira, whose humor has bite. Not a killer ensemble, though. [14 Feb 2011, p.42]

This drive for revenge is what makes the pilot spark, smoke and go chug-a-chug-chug. [14 Nov 2011, p.45]

It's like Lisa Kudrow's Comeback without the satiric contempt. [10 Apr 2006, p.35]

Beyond the pilot, though, it appears to be a blandly generic precinct drama. [5 Mar 2013]

Melissa McCarthy and Billy Gardell star in a sweet, old-fashioned sitcom. [Sep 27 2010, p.55]

The show has the makings of great--what else can I say?--escapist entertainment. [23 Jan 2012, p.39]

What really matters on Apprentice, though, are the celebs: This season's B- and (let's face it) C-listers are a good, volatile mix. [14 Mar 2011, p.42]

It's both old and new, a comfy piece of nostalgia that doubles as a fresh guilty pleasure. [18 Jun 2012, p.39]

Until, and unless, all the elements fall into place, it's more smush than smash. [18 Feb 2013, p.41]

The show borrows from Northern Exposure, Twin Peaks, maybe the corporate drama Profit--too many to gauge how it'll develop. [24 Jul 2006, p.33]

It's funny and moves blindingly fast, barely giving you time to blink or gulp--Dark Shadows for the PlayStation age. [10 Oct 2011, p.39]

She discusses her problems with a warm directness that makes them sound as if they could be anyone's. The show is less authentic when she learns about recovery from non-celebrities blindsided by tragedy. [16 May 2011, p.48]

Their interaction is friendly, if mildly teasing, professional and catfight-free. This allows the show to have the relaxing, unchallenging pleasures of good fluff even when the premiere is actually going a bit heavy on the gore.

The formula still works. The Real Housewives of DC wasn't any fun, but the new Beverly Hills chapter delivers. [18 Oct 2010, p.37]

To work, this overheated alchemy needs a magnetic Leo, but Tom Riley is miscast--too smart-alecky and brash. [13 May 2013, p.46]

This provocatively, almost boisterously violent thriller bolts into action with a clever premise and sustains it with good, unexpected jolts. [28 Jan 2013, p.43]

666 Park Avenue remains good Gothic Trash. [26 Nov 2012, p.44]

This adaptation of the hit 1989 movie is emotionally ample, as any decent family drama should be, but the premiere feels like a dowdier cousin of shows already out there.

The only disappointment is the werewolf makeup, minimal enough that Posey could still blend in at the mall. [13 Jun 2011, p.48]

The show's tone of enigmatic menace is overcooked. [25 Jun 2007, p.41]

It's an affable show, but at an hour long, it starts to feel like a slow dance that won't end. [12 Nov 2012, p.46]

The series is unmatched as a portrait of the entertainment industry. [8 Aug 2011, p.39]

The Inbetweeners is a companion to the network's hit Awkward. And equally funny. [27 Aug 2012, p.48]

West Wing politico Bradley Whitford reinvents himself for this entertaining free-for-all, a loose blend of buddy comedy and police action that's also an affectionate nod to series like Starsky & Hutch.

This is essentially a dialogue between baffled attorney and baffling client, which makes for an arid 95 minutes. [1 Apr 2013]

The color, pace and performance are vibrant, often crazily so. [10 Sep 2012, p.39]

Mad Love [is] a relationship sitcom with real chemistry. [21 Feb 2011, p.41]

At a full, commercial-free hour, this can all start to drag a bit. But L.A. is strongly evoked as a casually sensual backdrop and-thank you!-that awful L Word theme music is gone.

The fun comes in watching the uncynical Adams learn to undercut everyone else's cunning. [27 Jun 2011, p.46]

I want to root for a reality series that uplifts, but for this one to work, it either needs to be more fun or more real. [15 Feb 2010, p.43]

Woods is every bit as entertaining as he strives to be. [25 Sep 2006, p.43]

This air of finality throws the many small, fine details of Parker's performance, the main reason for the show's existence, into sharp relief. [13 Aug 2012, p.42]

What's surprising and even touching is that Fergie may not be a hot mess, but she's an appealingly human one. [20 Jun 2011, p.47]

Mount needs to run this thing, and he can't if he's the caboose. [27 Aug 2012, p.44]

The pyrotechnics involved in the opening heist are good, and the cast is a dream. [25 Sep 2006, p.43]

Piers Morgan's first nights filling Larry King's suspenders weren't great....He's better--thorough, thoughtful--with serious figures like Rudolph Giuliani. [14 Feb 2010, p.40]

It's fun sport. [30 Jan 2012, p.44]

The Class doesn't necessarily generate more laughs than other sitcoms, but it has more charm--like a kinder, gentler How I Met Your Mother--and that's incentive enough to stick with it. [16 Oct 2006, p.39]

The production is gorgeous and the tedium unrelenting. [8 Apr 2013, p.42]

Sorry, this one doesn't cick. [9 Aug 2010, p.35]

Gellar commands every scene. Hers is a true, potent star turn. [12 Sep 2011, p.43]

There isn't much of a story, though. The best thing is the terrific song in the opening credits: Aloe Blacc's "I Need a Dollar." It has the sort of itchy desperation that should have driven the whole show.

The series' grim tone and overall look of a grimy world in perpetual need of dusting or wiping is a long way from Buffy the Vampire Slayer and closer to Japanese movies like The Grudge. [12 Sep 2005, p.45]

Unlike Monk, a gently comic character coping with mental illness, Roday's just an overgrown kid. [10 Jul 2006, p.39]

I kept wishing for a rose ceremony to perk things up. [8 May 2006, p.39]

[A] fascinating reality hit. [28 Mar 2011, p.57]

This Victorian-era prequel to Peter Pan works. [12 Dec 2011, p.48]

Visually, it makes for odd television. Odder still is that the coaches compete too....The good news? The caliber of voices is high--better than American Idol. [16 May 2011, p.43]

As Merlin, Joseph Fiennes is more like a trainer-dietitian than mentor, but he's lively. Eva Green, as Morgan, is coldly beautiful and magnificent in Camelot couture. She's enchanting. But I don't see Jamie Campbell Bower's Arthur having the resolve of a king. [28 Mar 2011, p.54]

The premise might make sense if Stults had a Rain Man intensity. Instead he's laid back and scruffy. [6 Feb 2012, p.40]

At least Endings has something fresh at it's core....Even better, the well-cast ensemble includes Casey Wilson. [25 Apr 2011, p.44]

What keeps it from being exploitative--just--is the sense that these kids know such dangerous exhilaration won't, can't, lead to the happiness they're looking for. [31 Jan 2011, p.40]

The show doesn't need to be so crowded. [5 Dec 2011, p.46]

Her mind has repressed the clues [to her sister's murder]. Clever paradox, but as a result the show is an unsatisfying mix of razor-sharp thinking and befogged gloom. [10 Oct 2011, p.44]

With sharp camera work, pulsating music and no tedious, gimme-an-Emmy closeups, it's like CSI at warp speed. [4 Sep 2006, p.41]

It's a well-done, somewhat sleepy ensemble drama about newbies on patrol. [7 May 2012, p.46]

Daniels is great, biting clean through clotted dialogue that's twinkly yet sanctimonious. [2 Jul 2012, p.40]

Diaries is lukewarm and earnest. [21 Jan 2013]

The show is sloppy, vulgar fun, even if it's hard to detect much likability under the layers of lacquer. [9 May 2011, p.43]

It's a hallucinatory riff on an old noir tradition (is Raines being played for a sap by his own daydreams?), but the gimmick doesn't click. [19 Mar 2007, p.39]

Motive isn't ingenious enough to motivate imitations or spinoffs, but it's smooth and diverting. [27 May 2013, p.40]

The premiere feels sort of like "The Closer" but doesn't clinch the deal. I'm just not sure what to make of Jason Lee without his Jason Lee-ishness. But there's a crackle of eccentric touches, including an abundance of Elvis impersonators and the charmingly off-kilter Celia Weston as his mother.

The show works on its own undemanding terms. [6 Jun 2011, p.45]

This go-round, a tired-looking Bobby Brown struggles to act like he's there for anything other than the paycheck, and Britney Spears' ex Kevin Federline (who appears alongside his ex Shar Jackson) comes off like a man defeated. Bummer, dude.

It's just suspenseful and clever enough to keep you happily intrigued. [3 Sep 2012, p.39]

With the second episode, though, the whole tone improves: Delany's performance seems to have caught some of the coppery warmth of her hair, and we spend more time with a good ensemble. [4 Apr 2011, p.49]

A gauzy, pretty documentary. [18 Feb 2013, p.43]

Whether the show can figure out what to do with Madsen's semi-reformed brood is the challenge. Right now the show feels less like FX's recent, underrated The Riches than Brothers & Sisters set among the criminal element.

The story is promising. [9 Apr 2012, p.42]

Not a bad concept, but the casting is out of whack. [21 Mar 2011, p.46]

A diverting, silly potboiler, a bold cartoon with none of the staffers' anxious beetle scuttling that gives NBC's venerable The West Wing a sense of verisimilitude. [3 Oct 2005, p.39]

This bifurcated character--Mother of the Year meets Jack Bauer--isn't always believable, but Judd welds the two Beccas together through sheer willpower. [19 Mar 2012, p.41]

The show is gentle, winning and sympathetic. [7 May 2012, p.48]

The acting is flat, but the show casts a hokey spell. [19 Sep 2011, p.65]

It has none of Desperate Housewives' winking cuteness, none of Revenge's dagger-eyed, fire-breathing kick. [12 Mar 2012, p.43]

Emily Deschanel is well cast as Brennan--she has the right sort of drained, remote presence, as if still working off last night's sleeping pill--and she's also well cast against David Boreanaz. [19 Sep 2005, p.45]

The show moves along with the dull, humming smoothness of commerce. [19 Mar 2012, p.42]

Season 6 staggers from incident to incident as Nancy and family run from their enemies--and the authorities. [13 Sep 2010, p.50]

Most of Mornings is stock melodrama, and apart from Molina, not all that well acted. [18 Feb 2013, p.43]

[Skip's] part is virtually unplayable, especially since Bill Pullman and Jenna Elfman, as the first couple, give restrained, relatively natural performances, and Skip's siblings are written more along the lines of Modern Family. [14 Jan 2013, p.52]

The show offers genuine scares, but lines like "I already cried wolf once--you think they're gonna believe me?" cast a hokey spell. [31 Oct 2011, p.35]

Season 2 of MTV's instant trash classic moves the Situation, Snooki and Co. down to Miami Beach for a little change of scenery and no apparent change in attitude. Actually, the scenery hasn't really changed, either.

This sitcom has the high-tech antics of Chuck and the misfit camaraderie of Community-not bad, but no breakthrough. [2 May 2011, p.38]

Reubens is getting a bit old for this, but Pee-wee's innocence, infantilism and camp haven't dated--there's a rebel in the ridiculousness. [21 Mar 2011, p.46]

Despite the backstory, the humor is conventionally jolly. [30 Aug 2010, p.38]

For now, Sunshine is a bit busy and unfocused. [28 Feb 2011, p.43]

It's just a plainer Ugly Betty. [9 Jan 2012, p.40]

Every time he flaps into view in his baggy hoodedness, he looks like Batman in need of a tailor. [17 Jan 2011, p.40]

Clive Owen teams with Nicole Kidman for a long, lopsided slog through the life of Ernest Hemingway and war journalist Martha Gellhorn. [4 Jun 2012, p.42]

It's an awful story, and it deserves a better production than this. [31 Oct 2005, p.39]

The framework [couples counseling] is cute but irrelevant: You don't need an analyst piecing together the relationship when that's the audience's job. [14 May 2012, p.44]

I found 1 vs. 100 much more enjoyable [than Deal Or No Deal]. [23 Oct 2006, p.37]

The sincerity of the enterprise is in inverse proportion to its fun. [13 May 2013, p.49]

Finnigan's performance dovetails perfectly with Close's neat if heavy- handed dramatic concept. [17 Oct 2005, p.39]

The show's a letdown, especially since it comes with one of the most lovingly assembled casts of any series. [9 Oct 2006, p.41]

The arbitrary leap overseas moves the show that much closer to pure sitcom--an improvement. [22 Aug 2011, p.45]

There's no real awe or fear-just a relatively safe Haven. So, no go.

This portrait of Prince William's courtship of Kate Middleton is better than April's plucky Lifetime movie. [29 Aug 2011, p.36]

Now, ma'am, no need to bolt like a horse-unless you're scared of cliches. You aren't, are you?

Preachers' Daughters, focusing on three families headed by ministers, has its hearts in the tight place. [18 Mar 2013, p.42]

You go on the lam, and you find Laguna Beach. [2 Oct 2006, p.45]

None of these results will rock a viewer's world, but it's unexpectedly satisfying to see stars in a reality project that's more relatable than ballroom dancing or a temporary work detail for Donald Trump.

In the first few episodes, nothing's happening. No pulse. Doctor, what's wrong? [24 Oct 2005, p.41]

This FOX version of a family sitcom isn't as irreverent or formula-free as it thinks--ABC's "The Middle" is actually edgier--but it scores points for never resorting to mere cuteness and for throwing in a bizarre sight gag about frozen squirrels.

It feels less like Freud's fun house than an opportunity for one performer after another to launch into frenzied, vituperative speeches. [24 Apr 2006, p.39]

It's not a fascinating process. As host and co-judge, Jewel is so glamorously reserved, she's faintly sinister. [6 Jun 2011, p.46]

The show is light, viewer-friendly entertainment, but without the conceptual novelty that gives USA dramas their oomph. [20 Jun 2011, p.48]

This makeover series isn't breaking any new ground: A wallflower, repotted and pruned, blooms overnight into an assured woman willing to tackle her dream date. The real asset here is its charming British host, style adviser Louise Roe.

This is Amazing Race of the damned, with something of the open-ended, Pandora's-box mystery of Lost, and it has the potential for out-there adventure. [23 Apr 2007, p.37]

The camera work is shaky, the music is gritty, and the endings aren't always happy. But the fact that you can almost smell the B.O. on some of the people piling into that truck makes it a raw, more real alternative to the usual sugary sweet. [21 Nov 2005, p.43]

Fun enough, but the nastiness could be applied more heavily.

Rivers scarcely pretends any of the setups are real--it's just more material for her. [7 Feb 2011, p.41]

It's an enjoyable enough whodunit. The problem is McCormack. [23 Jul 2012, p.38]

Scott's performance is totally believable, but that doesn't mean you want to ride shotgun with him in such a tired vehicle. [19 Jun 2006, p.37]

A solid, well-done series. [19 Jan 2012, p.42]

Path sometimes feels like 24 downsized into The Office. [18 Sep 2006, p.39]

The narrative seems unduly baggy and stretched out, nothing so sharply defined as a triangle. More like a rhomboid. [12 Dec 2005, p.39]

It's pleasant enough--and thankfully it's not zany. The problem is that Danson's crisis is believable midlife comedy, while the patients' neuroses are closer to stock. [9 Oct 2006, p.41]

It's like watching a manor house sink beneath the waves with loud, hissing pomp. [16 Apr 2012, p.50]

The end product should be called Hellkittens--not bad, but its tiny claws neither grip nor rip. [13 Sep 2010, p.47]

It's a promising setup, but Deception doesn't allow us the dirty pleasure of enjoying the awful Bowers. [14 Jan 2013, p.56]

The case seems more like a good crusade for Nancy Grace than the starting point for a series. [28 Aug 2006, p.35]

No zest, no fun. [26 Mar 2007, p.37]

They're just bland. [2 Apr 2012, p.44]

The stunts are a confusing mix of bullets and blowups: Apocalypse Now on the scale of Wipeout. [3 Sep 2012, p.40]

The show wants to mix in big themes (politics, money) with a family soap opera, but it just feels bloated and vague. [25 Sep 2006, p.43]

The tone of the first three episodes is grubby yet also precious. [11 Jun 2007, p.41]

These people are all more ordinary and much less fabulously neurotic than you might have hoped. [11 Mar 2013, p.48]

What we have is a light, fast show about friends and couples who hang together, banter together and drink together. [8 Nov 2010, p.40]

The hot-potato miniseries dares to be unflattering. [11 Apr 2011, p.45]

The show could be compelling, especially if the cast pulls off two decades' worth of aging. [12 Sep 2005, p.46]

Well, a mil doesn't go far these days, and neither does this series. [4 Sep 2006, p.41]

FX's spy parody Archer is funnier, and AMC's short-lived Rubicon was a more sharply realized fantasy of work life in a shadow bureaucracy. This is a botched mission. [4 Apr 2011, p.50]

This enjoyable series from the Grey's Anatomy team is sort of Doctors Without Borders--who are also without too many clothes. [24 Jan 2011, p.41]

The Most natural thing here is Palin's effortless command of the camera. In That Regard, the show is fascinating. [22 Nov 2010, p.38]

There are rivalries and feuds and dangerous situations, as well as a complete lack of personality. [29 Oct 2012, p.38]

The Exes is New Girl fallen off the back of a truck. [19 Dec 2011, p.44]

This is competent reality fare, but coming after the besotted Ali and Roberto, it's like tying cans of nitroglycerin to a honeymooner's car. [23 Aug 2010, p.35]

I just wish he'd [Will Arnett] run away from this dead horse of a sitcom. [11 Oct 2010, p.38]

This doesn't have as distinctive a style as The WB's Supernatural--that's more like a jeans ad for the undead--but Kolchak three decades on still knows how to move. [24 Oct 2005, p.41]

[It] looks like Sex and the City relocated to Northern Exposure. [18 Sep 2006, p.39]

Mostly it feels like an instructional film about disaster preparedness. [2 Oct 2006, p.45]

Only Visnjic, immaculately groomed and vaguely continental, seems to understand that this over-the-top story requires not only a constant flame to boil the plot but a flirtatious sense of fun. [11 Mar 2013, p.45]

It's like a David Mamet parody of Roseanne. [19 Jun 2006, p.37]

The show is cleverer than you'd expect. [20 Aug 2012, p.41]

It's only fun, though, when the would-be mates turn on each other and the bat guano flies: Romancing the Stone morph into The War of the roses. [25 Jul 2011, p.40]

Chalke and company are all expert comic actors, but the pilot is leapingly frantic, a puppy wanting love. [8 Apr 2013, p.45]

Kathy Bates' surly gravity can't prevail over the silliness of this new series. [24 Jan 2010, p.43]

Saddled with stars who neither clash nor click, breaking In appears to be broken. [19 Mar 2012, p.46]

The banter is warm and fast and easy, and the sisters' personality types balance out well. [17 Oct 2005, p.39]

Brosnan remains totally believable whether he's borderline batty or bravely resilient. [19 Dec 2011, p.44]

Here Comes Honey Boo Boo Child is one miserable half-hour. [27 Aug 2012, p.44]

It's like watching someone try to flirt while stuck in a revolving door. But Gummer has a whirring charm that never settles for mere adorkability. [22 Oct 2012m p.42]

It's a well-made hour of generic moments. [15 Apr 2013, p.44]

It's awkward, sweet, sincere--and sometimes yawningly dull. [6 Aug 2012, p.37]

Outsourced really needs to move beyond this sort of broad stupidity because its cast, notably Sacha Dhawan, is actually quite good. [27 Sep 2010, p.56]

Thandie Newton is intimidatingly fierce.... The problem is everyone else. [8 Apr 2013, p.45]

The acting is good, especially Bill Skarsgard and Landon Liboiron.... I like the show's languid, dreamlike beauty, but horror fans may be less patient. [22 Apr 2013, p.47]

This family sitcom, adapted from Ice Cube's hit 2005 movie, is a modestly conceived, somewhat blandly executed story about a stepdad (Terry Crews from Everybody Hates Chris), his new wife (Essence Atkins) and her two kids. [7 Jun 2010, p.50]

Just about perfect in its way--always fun, well-paced--and much, much better than UPN's failed models drama South Beach. [1 May 2006, p.39]

It's still not funny. [23 Jan 2012, p.42]

Playboy Club makes the mistake of aping Mad Men's Stern social seriousness. [26 Sep 2011, p.54]

The show... is partly improvised, a stunt used to richer effect on ABC's upcoming Sons & Daughters. [6 Mar 2006, p.41]

While obnoxious luxury is always watchable, the show is lazily cookie-cutter. [19 Mar 2012, p.42]

It's a gauge of how much reality programming has changed TV that I kept thinking that Mark Burnett could come in, push some situational hot buttons and produce a better show. [12 Jun 2006, p.39]

It gets an unexpected freshness from a young cast. [5 Mar 2007, p.37]

It's tacky, da--or should we say duh?--but likable. [22 Aug 2011, p.45]

This is like dramatizing War and peace without commenting on war or peace. [11 Mar 2013, p.46]

It just doesn't work. [30 Jan 2006, p.38]

The show has a sheen that's distinctive from Law [& Order]--young, exfoliated skin reflects light better from waxed court floors--and promises to be more fun than In Justice. [6 Mar 2006, p.41]

It's like watching a marionette with one set of strings operated by John Lithgow and the other by Pee-wee Herman. [12 Mar 2007, p.39]

It's Court TV's first original scripted drama, and it's bad. [16 Apr 2007, p.43]

For now, it's a mess. [2 Jul 2012, p.37]

It's well cast but conceptually unadventurous. [31 Jan 2011, p.39]

It's [Bobi Kristins's] aunt Pat Houston who gives the show--and, one hopes, Bobbi Kristina--some backbone. [5 Nov 2012, p.43]

It's more shoofly than pie, but amusing. [17 Dec 2012, p.39]

Love Hewitt goes for soft, cozy sentiment. [16 Apr 2012, p.53]

Contrasting the then-and-now lives of a group of high school students, class of 2000, the show is drearily familiar. [27 Sep 2010, p.56]

[Forest Whitaker as Sam Cooper is] an arresting, oblique performance, and it works well amid all the procedural muck. [21 Feb 2011, p.42]

It's not clear how seriously Patinkin takes the whole thing--it's the same actorly mystery that makes David Caruso's whispery bitterness such a kick on CSI: Miami. [31 Oct 2005, p.39]

The inspiration can be heavy-handed, but how can you not feel for the couple?

The declining but not yet flatlining EKG of their relationship is captured very nicely by Williams and Matchett, both giving strong, stoic performances. Everything else is too quiet, though. [25 Jun 2007, p.41]

This is all nicely produced with mild offbeat tweaks along the way... But none of this is original either. [24 Apr 2006, p.39]

This Miami trauma-hospital drama is marginally better than "Three Rivers."