Mark Dawidziak

American Dreams will need to change and develop if it has any hope of mimicking the success of American Bandstand. But tonight's opener has a nice beat and is easy to dance to. [29 Sep 2002, p.2]

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]

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

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]

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.

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]