Ray Richmond

Dawson's Creek is "My So-Called Sex Life," a hyperventilating soap that finds hit-making horror scribe Kevin Williamson pigeonholing the adolescent experience as a Freudian misadventure of boiling libidos and roaring psychobabble.

It is so wildly original it defies conventional categorization.

If The Shining has a weakness in comparison to its predecessor, it’s that it lacks some of the trademark visions of horror — the elevator-driven blood, the ax-wielding Nicholson. But it makes up for that with a consistent, carefully textured story that rarely gives you the chance to properly breathe.

Peter Berg drama boasts the kind of quality, originality that makes it breakout potential. [28 March 2000]

This show looks less like a TV series and more like an attraction at Disney World. ("Hey boys and girls, it's Testosterone Land!") [24 March 2000]

An extraordinary piece of filmmaking.

The early prognosis: bizarre, unsettling, perplexing, captivating. [6 Oct 1999, p.10]

Beggars has the earmarks of a savage gem in its own right, slashing as it does sacred cows and spoofing TV's executive culture with wickedly sophisticated abandon. It's the best kind of farce in that, like "Sanders," it keeps reality percolating just underneath the surface while nearly always defying expectations.

Maximum Bob is like a consciousness-expanding narcotic transferred to film stock. If it's sometimes too taken with its own sense of wacky, it surely deserves kudos for putting out the effort at all. [3 Aug 1998, p.04]

What lends this passionate new USA Network drama series much of its idiosyncratic energy is an exceptionally committed performance from the exquisite Annette O'Toole. [24 Jul 2000]