The Goodwin Games isn't a sophisticated comedy by any means, but its overall lightheartedness manages to save it from becoming completely dull.
With Family Tree, Christopher Guest refurbishes the often tedious stunted-male coming-of-age scenario with his distinct, gently despairing, satiric stylings.
Family Tools is a severely undercooked convergence of idiotic plots and botched one-liners, rarely striving to do something the slightest bit original.
Maron presents itself as a fair complement to Louie in that both shows concern themselves with refreshingly substantive masculine types.
If not for the actors, whose talents can't save this lackluster material, Teen Titans Go offers little to even the most ardent Titans nostalgists and completists.
It's the tender, realistic moments where Rectify thrives, distinguishing itself from the bulk of other series with similar subject matter.
Defiance is akin to watching the Cantina scenes from Star Wars indolently re-scripted and reenacted by amateurs.
A frothy mixture of costume drama and soap opera, Neil Jordan's show brandishes moral outrage and a blunt understanding of politics.
This new Starz program, with its dynamic, eccentric, and haughtily egotistical main character, unapologetically defiles history with its macabre absurdity.
It isn't a disservice to Julia Louis-Dreyfus to say that her well-deserved Emmy award for the role is in many ways a reflection of the quality of the supporting cast.
The Good Wife's balance of contradictory impulses bristles with an overflow of creative energy.
The AMC show's pleasure comes from the tension between its cultural context and its forward movement.
How to Live with Your Parents appropriates a contemporary socioeconomic trend to little effect.
The series feels like it has some firm footing and a newfound sense of certain direction that was lacking intermittently in the second season.
Phil Spector's nominal entertainment value proceeds almost entirely from its status as an explosive camp object.
Top of the Lake represents a new peak for Jane Campion.
Bates Motel suggests what Gilmore Girls would've been like if it arbitrarily featured a tormented young Charles Manson.
Red Widow feels focus-grouped and dramatically scattered.
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