Critic Reviews

The personable cast carries the creators' vision of a New York full of false hope, made tolerable by a network of friends. And then there's that Bob James theme song, so pretty and forlorn, playing in the opening credits over an endless shot of a cab crossing a bridge and never getting anywhere. It's the whole mood and meaning of the show, established in less than a minute.

Not only does it have magic, it is completely under control, making one believe that week after week, we will continue to be treated to ensemble comedy performances at their near best.

It's not only funny; it's also humane and occasionally inspirational. [19 Sep 1978, p.11]

Like "the Mary Tyler Moore Show" this something-for-everyone comedy touches the nerves of character without forsaking the pratfall. [11 Sep 1978, p.25]

They are not ordinary cab drivers, and Taxi is more than just a time filler between "Three's Company" and "Starsky and Hutch." It promises a lot and then delivers it all. [12 Sep 1978, p.26]

Taxi is a joyride, a warm, breezy, character-oriented comedy in the tradition of "The Mary Tyler Moore Show" and "Barney Miller." [12 Sep 1978, p.72]

With Taxi, they've assembled a handsome vehicle that should run a long time. Only the direst accident could knock the wheels off this one. [12 Sep 1978, p.61]

It becomes more than a good, substantial comedy show; Taxi is also an unusually moving vehicle.

As a situation, Taxi is no better or worse than any other situation comedy on television. But the series has two distinctive assets. The scripts tend to be better than average. And the cast, headed by Judd Hirsch as the somewhat sour, deadpan AleX, happens to have coalesced rather rapidly into a first‐rate repertory company.

Robert De Niro wouldn't recognize this bunch, but the writing, by four veterans of the Mary Tyler Moore shop, is as finely tuned as Judd Hirsch's performance as the only driver who likes his job. [11 Sep 1978, p.58]