A rambling collection of artlessly tossed-together scenes, this disjointed four-hour hodgepodge wanders aimlessly, becoming more murky and melodramatic with each miserable misstep. [13 May 2001, p.8I]

The truly scary thing about Stephen King's Rose Red is its running time. Spectral chains aren't the only things dragging in this rambling haunted-house miniseries from the horrormeister, whose best-written best sellers move at a frighteningly crisp pace. There are times when "Rose Red" seems to hardly move at all. With its sluggish six hours stretched over three nights, the ABC miniseries is a case of way too little story occupying way too much prime-time space. [26 Jan 2002, p.E1]

It stands as King's best and most effective TV project to date. Best of all is the human dimension of the drama. Where some King minis have built to fantastic payoffs so preposterous as to be laughable, this one uses his bag of tricks and special effects to pose a moral dilemma. The absorbing climax finds its ultimate horror not in a monster, but in the ethical choices of average people. [13 Feb 1999, p.1E]

Bouncing between bloody good and bloody brilliant. [12 July 2006, p.D1]

With its pulsing green glows, glowing green ooze, barking dogs, demented stares, terrors in the Maine woods, kids in peril and unseen powers that take over minds, it's less a journey into the Twilight Zone than a trudge down memory lane - even if you've only seen King's work on television in "It" and "Golden Years." More disappointing, it fails to live up to the foreboding and sense of dread it deftly establishes in a succession of early scenes. [9 May 1993, p.1H]

It changed the look of King’s lead vampire from a cultured villain to a ghoulish beast recalling Max Schreck’s makeup in “Nosferatu” (1922). [22 June 2013, p.E4]

Visually arresting, epic in ambition and impressively acted by a splendid cast, The Stand" looks like King's close encounter with "The Andromeda Strain" crossing "Wild Palms, building its suspense around a deadly epidemic that wipes out most of the world's population and leaves the survivors seeking a new beginning for good or evil. [8 May 1994, p.1J]

It's a bit of throwback, which makes it sort of a time trip in itself. A fun ride. [21 March 1995, p.7F]

As deeply disturbing as it is brilliantly compelling. ... A top-to-bottom standout cast that makes the mesmerizing most of this potent material.

[The first five episodes of this fifth season] provide overwhelming proof that “Better Call Saul” remains one of the best shows of any kind anywhere on television. And Odenkirk hardly is the only compelling reason to follow this series. All of the characters are intriguing.

Although the pace is at times too deliberate and many of the story elements seem familiar (earning the dubious raised eyebrow Mr. Spock put to such good use), it’s not difficult getting to the end of this third episode. For one thing, the series looks terrific. For another, you’re in great company all the way. The cast is marvelous, starting with Stewart, the finest actor ever to wear a Starfleet uniform. His aging and conflicted Picard is an endlessly intriguing revival of the character. He not only keeps you involved but also (to borrow the captain’s trademark phrase) engaged.

It substitutes mocking attitude (or lack of attitude) for wit, has no sense of story and has no discernible jokes - just a lot of ostensibly "out there" ideas it is unable to develop. It isn't as memorable or smart as the "bad sitcom" conventions it spoofs. [31 May 2000, p.3E]

This isn’t a parody. It’s deadly serious. And deadly is a description that also fits the direction and writing. ... Drearily paced, clunkily written “Christmas Carol.” Everything seems to take forever as we move awkwardly and clumsily from scene to scene.

Falling into an erratic pattern, the annoyingly choppy "Wonderland" follows an incredibly powerful moment with one that's incredibly forced. Intriguing confrontations lead to unrealistic plot twists or hackneyed resolutions. Artfully constructed dilemmas are undermined by cliches...For every step in a brilliant direction, Wonderland takes a stumble. A dark drama filled with dreary and haunting images, the ABC newcomer has ambition to spare. What it lacks is consistency. [30 March 2000, p.1E]

It is revealing in its accidental way and, like the boy bands, rates as harmless diversion. [23 March 2000]

A terrific vehicle for commenting on the state of the world? It should be. God, the Devil and Bob, however, is rarely as funny or as insightful as it should be. [9 March 2000, p.4E]

Chiklis is saddled with a series that would need months of polishing just to be mediocre. The subtitle could be, "When Bad Shows Happen to Good People." [23 March 2000, p.6E]

Although terribly familiar in design and execution, Battery Park does manage stretches when it amiably spins along in a Big Appleish "Spin City" sort of way. Goldberg's touch hasn't completely deserted him. [23 March 2000, p.6E]

While tonight's pilot episode is uneven, it does provide the building blocks for a solid foundation. There is promise here, and there is the potential for quick disintegration. Which way will it go? How do I know? What do you think I am? Psychic? [5 Feb 2000, p.1E]

So relentlessly watchable it's likely to be habit-forming after two doses, City of Angels is more than a promising midseason addition. It makes an immediate case for itself as the best drama on CBS. [16 Jan 2000, p.6I]

Ambitious, imaginative, provocative and engrossing. ... A triumph of style and substance, it never sacrifices pace for preaching or pontificating. At least in the first six episodes made available to critics, it remains every bit as entertaining as it is intriguing.

Mirren is in full command of the role. ... But the script is nowhere near as commanding as her portrayal of Catherine. ... Our fascination with the story, though, comes and goes, even with Mirren consistently rising above and transcending the inconsistent writing.

An intriguing and surreal serving of fun fantasy. It’s an ideal role for Rudd. Well, make that two ideal roles for Rudd.

Like many an anthology series, it is a bit uneven, sometimes corny and clunky, sometimes wonderfully sweet and sentimental. But when on top of its game, “Modern Love” produces some magically romantic results. The touching first episode is enchanting proof of that. ... Another superb entry stars Dev Patel.

An endearing and often-poignant eight-part adaptation of John Green’s first novel. ... They [writer-producers Josh Schwartz and Stephanie Savage] are aided in this mission by performances that are every bit as refreshingly genuine as the writing.

The era-by-era approach can lead to a bit of a by-the-numbers feel, as Burns and Duncan make a mighty effort to touch every base in every decade. This also robs the film of the grand overall cohesion that holds together such epic efforts as “The Civil War” and “The Roosevelts.” Because of this, “Country Music” often feels like eight two-hour films rather than one intricately interwoven effort. But each of the segments is intriguing in its own way.

The ploddingly paced, awkwardly constructed Showtime production manages to turn the spectacular rise and fall of former Fox News chief Roger Ailes into a slog that is as tiresome as it is tedious.

It’s difficult enough staying on track having seen the previous two seasons. If you want to make up your loss, go back to the beginning and work your way toward the third season. And be prepared to be challenged. ... What hasn’t changed is that “Legion” remains an intoxicating experience laced with a grand sense of wonder. The humorous touches are every bit as clever as the visual treats. The performances are every bit as compelling as the production team’s command of the narrative.