Lopez Tonight -- TV Review
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It's the fashion statement of the year: Bravo's new reality series "The Fashion Show" is not -- repeat, not -- a knockoff of the recently decamped Bravo show (now at Lifetime) "Project Runway."
The Sichuan Province earthquake of May 12, 2008, killed 70,000 people -- including 10,000 children. It would have been horrible enough if that had been an unavoidable body count, but as "China's Unnatural Disaster" proves, so many children never had to die.
Take the Southern-fried cinematic style of the 2005 indie darling "Hustle & Flow," inject the airbrushed artifice of MTV's "The Hills," apply the fragmented online format popularized by "lonelygirl15," and you have "$5 Cover."
This TV movie has a few harrowing moments that skillfully bring home the human and emotional cost of World War II, but mostly the telefilm plays like too many other things we've seen before.
The problem with Fox's "Sit Down, Shut Up" isn't that it tries to be a meta-comedy that pokes fun at other animated series. No, the problem is that the show just isn't funny.
If "Harper's Island" were a self-aware spoof of the horror genre, it would be amazing -- like "Shaun of the Dead"-level good. But the problem with CBS' new horror-mystery-soap mash-up is that it's completely earnest in its awfulness.
The first hour of NBC's new cop drama "Southland" features two shootings, one child kidnapping, a club to the head, and one gruesome demise that underscores why, if you're going to die alone in your house, you should let the dogs out first.
Comedy Central's "Krod Mandoon and the Flaming Sword of Fire" is exactly as bad as you would fear.
After more than a year away, "Rescue Me" is still a compelling drama, full of strong writing and skillful acting, but it's the show's mix of redemption and ruin that genuinely sets it apart from the pack.
With the rise of such nontraditional television sitcoms as NBC's "30 Rock" and "The Office," it seemed that television comedy was -- we dared to hope -- maturing. The once fresh, beloved art form of the traditional two-camera, live-audience sitcom had grown feeble and was at last being put out of its misery.
The description of ABC's midseason replacement "Cupid" omits the word "new" because creator Rob Thomas and the Alphabet have been down this road before -- for 15 episodes in 1998, with Jeremy Piven as the lead.
Here's a mystery only a detective could solve: Why would HBO, a network that specializes in edgy brilliance, greenlight a series that would seem too fluffy even for Lifetime?
"Better Off Ted" has the fresh and lively feel of something great being born, rather like an officebound version of "Malcolm in the Middle" in terms of style and sensibility.
"Kings" helps make the argument for those who believe that irony is truly dead.
It simply isn't possible for this reality series to be more aptly titled than "The Chopping Block," given its similarities to Fox's long-running "Hell's Kitchen" and pretty much every other restaurant/food competition show there's ever been.
The urge to refer to this slick new lighthearted drama as "Murder, He Wrote" is overwhelming, given the premise of a famous mystery novelist involving himself in crimes similar to those he writes about.
It's difficult to fathom a more dangerous and enthralling piece of television than "Breaking Bad," the AMC drama that is quietly redefining the creative and content limits of primetime.
Jimmy Fallon didn't come across on Night 1 like a natural in the chair so much as a comic who does great impressions doing his awkward best to put the spotlight on his guests.
Rosie O'Donnell wrote, exec produced and stars in "America," a bleak, agenda-driven tale that aims to educate Americans about the sorry state of our broken foster care system through the eyes of a troubled 17-year-old named America
It turns out producers Bill Condon and Laurence Mark weren't kidding when they promised to reinvent the Academy Awards ceremony and thereby mend a broken and repetitive show that very much needed fixing.
What you can't help but notice right away about the irresistible "Mistresses" is how much you're made to care about the characters. Three of the four leads in this BBC America drama are, after all, cheaters, but quite likable nonetheless.
"Taking Chance," adapted by Marine Corps Lt. Col. Michael Strobl from his personal journal, proves to be generally inspiring, intense and illuminating. But the story is undercut by the wooden performance of the man portraying Strobl: the usually dependable Kevin Bacon.
The "Friday the 13th" franchise has nothing on this chilling and altogether nightmarish two-hour documentary detailing the Wall Street-fueled events that made the current global economic collapse an unavoidable calamity.
As is the case with nearly all sketch-comedy series, this one is very much hit-and-miss, with the misses outnumbering the hits in the first installment and the hits predominating in the second.
There is more than a passing resemblance to the "Bourne" film franchise and "24" in "XIII," whose title leaves the impression it must be set in ancient Rome or something but is in fact every inch the contemporary tale.
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