Sam, Diane, a mostly lovable and funny bunch of regulars and occasional outsiders create an atmosphere in which nothing is more valued than quick wit, sincerity and eccentricity. Watching the show, you start to wish you were a regular there. [10 Nov 1982, p.80]

Taxi is above average television because of Judd Hirsch, its star, whose guy-down-the-street style of acting shames most of the other cast members with their shouting, gesturing and other frantic efforts to be noticed. [11 Sep 1978, p.44]

An addictive mixture of soap opera aond coming-of-age saga, one that fans of shows like "Party of Five" and "My So-Called Life" -- and good TV in general -- should certainly sample. [20 Jan 1998, p.D3]

When Goodman goes, he creates a void, but "Now & Again" might survive it thanks to sharp writing and an offbeat premise. [29 Aug 1999, p.F1]

Wolf Lake shows signs of turning into the kind of pretentiously mystical drama that attracts breathless Internet fan groups but leaves less-susceptible viewers snickering. Depending on what turn it takes, Wolf Lake could be fascinating or foolish. [11 Sep 2001, p.F1]

Here's a surprise from CBS - a new comedy that's actually fairly funny. [02 Jan 1995, p.6E]

Murder, She Wrote looks like the most intriguing, if lighthearted, adult show of the new CBS entries. [17 Sep 1984, p.3E]

The show has definite possibilities. Young people, who tend to feel like misfits most of the time anyway, could well identify with the characters' feelings, if not their specific difficulties. [08 Sep 1985, p.F]

The trouble with "The Trouble With Larry" is that all these jokes don't add up to many laughs. [29 Aug 1993, p.8C]

What with the dog stunts (Wishbone has three stunt doubles), all the kids and the large cast of costumed actors for the literary segments, this is a very labor-intensive effort for a five-times-a-week show. Computerized special effects are even used. Still, the dramatizations feel amateurish, hardly above your church group's talent night. [09 Oct 1995, p.6E]

"Storm" is classic King, scary as heck and loaded with dark, psychological twists and turns. [14 Feb 1999, p.D8]

There's a "Twilight Zone" vibe to the stories and their TV treatment, although it goes without saying that Rod Serling did better in half the time. William Hurt is sure to rack up acclaim for his tour de force performance in the first hour, "Battleground," airing without commercials, in which a hit man is attacked by an army of toy soldiers. Once you get the point, however, the actual battle -- wordless if not soundless -- seems to go on and on. [12 July 2006, p.E6]

I've seen the first six hours, and if I weren't here writing this, I'd be home watching the finale. I'm that hooked. [8 May 1994, p.6C]

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]

Cases amusing or deeply tragic immediately test both her medical skills and her knowledge of Indian local culture, both lacking. But as trite as it might seem in outline, The Good Karma Hospital won me over quickly, and I flew through all six episodes in an evening. Acharia, whom "Game of Thrones" fans probably won't recognize as Dothraki handmaid Irri ("It is known"), is both charming and completely believable.

Except for its familiarity, not necessarily a liability in TV comedy, there's nothing wrong with Marlon except its dated joke-punchline structure, deafening audience laughter and the tendency of the cast to shout all the dialogue.

The dark humor and bursts of bloody action will satisfy some viewers, but the pacing is so leisurely and the characters are such sad sacks that Get Shorty can feel like a chore.

It will undoubtedly seem tame to staunch "True Blood" fans. But a few winks of humor and some good scares make Midnight, Texas more than you'd expect from a summer series on broadcast TV.

The plot runs from dark to darker. But there are also flashes of humor, and the Byrdes are well-developed as characters from the beginning. Their plight, and the path they find themselves on, is twisty enough to hold interest, but laid out clearly enough to keep viewers from feeling hopelessly lost.

It’s also a lot of fun, lively and fast-paced, with comedy, tragedy, action and history, just as audiences of 1589, and today, demand.

Snowfall will feel like too much work for some viewers. But those who stick with it will be rewarded with a drama that’s both involving and important.

Sad is that is, we have to admire a show that knows when to call it quits and goes out on top. Broadchurch does just that.

GLOW is often very funny, but it also plays (and works) as drama, a balance that would more often be found in an hour-long show. The half-hour format, though, is just right, leaving a viewer eager to bounce and roll through the 10-episode first season.

Making sense of this mess is probably impossible (either my screener was missing scenes or the plot makes a big and confusing jump in the middle of the premiere) and not worth the effort. Unless, that is, you love seeing bad people get their faces eaten off, or you really, really miss "Under the Dome."

Loch Ness might not be pure noir, but it’s enjoyable noir light.

The town of Algonquin Bay has secrets. Bad things happen in the long winter darkness, filled with predators, drugs and violence. All this, and Campbell’s outstanding performance, add up to a drama that stands with the best of TV noir.

The characters in Claws initially seem like clichés, including Desna, who is very much the familiar big-busted broad in high heels and hot pants. Before the first hour is over, though, we see them differently.

Twin Peaks doesn't spend significant premiere time in Twin Peaks, and that results in a slow, scattered setup that has barely begun to come together by the end of Episode 2. ... Lynch clearly delivers exactly what he and Frost intended to deliver in the premiere, and will continue to do just that. The question is whether the result will be worth spending 18 hours to puzzle out.