Phil Gallo

Da Ali G Show is all over the map -- funny in parts, overlong and out of steam in some taped bits and generally very inside in the humor department. Late night's a good spot for it.

Stories shouldn’t end as neatly as the one in the pilot — Jordan’s transition from apparently homeless to superwoman moves faster than a speeding bullet — but [Hennessy] has the talent to carry this show by her lonesome.

With the emotional tug of Wonder Years presented with the production values of The West Wing, Dreams should follow Wing, The Sopranos and 24 as stellar shows that live up to the promise of its pilot.

This is too far over the top, and even fans of FX's "The X Show" will find it wearisome after a few weeks. How often can you laugh at a dog humping a woman's leg?

Hourlong debut is numbingly dull and predictable, a combination of MTV's "Real World" with "Behind the Music" lighting and a random public access "community auditions" show.

Blessed with one of the most-coveted timeslots in television, series needs to find a consistent tone to find its own audience — the second half of the second episode demonstrates that it is possible.

Scorsese has created a document that will satiate Dylan fans over repeated viewings and should bring naysayers into the Dylan fold. The revelatory 3½-hour docu is a triumph.

The show's cast is potentially likable; once they're given a script that doesn't feel so derivative and stuck on a single note, show could blossom. [23 Sept 2002, p.22]

A masterful portrayal of the bleakness of the decision-making process within the medical profession, Gideon's Crossing is challenging and arresting television. It's a cerebral approach to issues of healing and loss, made all the more dramatic by the presence of Andre Braugher. [9 Oct 2000, p.4]

Characters are indistinguishable from each other and forced to either mutter or shout cliched New Yawk dialogue. And the editing moves the action from one scenario to another at such an exaggerated pace that nothing gets a chance to truly resonate.