Howard Rosenberg

Cheers in an ensemble triumph, one of those rare meshings, with a cast, a script by the Charles brothers and a setting that all seem perfect for one another. [30 Sep 1982, p.109]

Dawson's Creek doesn't cut it when measured against other adolescent coming-of-angst series.

Here is a series you want to like, if only it will let you.

An endearing new CBS hour from Glenn Gordon Caron that promises to be one of TV's shouldn't-miss series. [24 Sep 1999, p.F1]

You'd find answers here, but the premiere ends as inky as it begins, its ambiguity making it all the more appealing as Kanin gradually strips back layers of intrigue in a dark locale where nights outnumber days about 10 to 1, and the forest is a place to avoid unless you're carrying a bazooka. [12 Sep 2001, p.8]

When it comes to TV, Shepherd’s comedy pedigree has the sheen of a winner.

The best thing about the two-hour premiere of "Murder, She Wrote" is Angela Lansbury. She is all mischief and devilment, huggably wise, possessed of an agile mind and a sweet nature as a mystery writer/amateur detective who is always one amiable step ahead of the police. [29 Sep 1984, p.12]

Despite being written by producer Gary David Goldberg (one of the brighter young comedy minds in TV), the script speaks the narrow, doctrinaire language of bumber stickers. [22 Sep 1982, p.7]

The broad ending is the kind of silly piffle that only the likes of Robin Williams could pull off, and the show's plethora of bawdy double entendres regarding the male anatomy is ill suited to a time period so accessible to young kids. All in all, though, it's a good start, the key being that both Pinchot and the writing are effortlessly witty. [25 Aug 1993, p.F10]

As unoriginal as haunted house stories get, Stephen King’s Rose Red is his “Carrie” and “The Shining” meets “Ghostbusters,” “Night of the Living Dead” and the Psychic Hotline. Written by the prolific King, this overwrought, overacted three-parter on ABC is campy, not scary or even stomach-turning.