CHICAGO – The power of creativity, and the risk of live theater, is all on display through Nothing Without a Company’s latest amazing journey, “Down the Moonlit Path.” The interactive stage experience refreshes the soul and realizes the joy of life.
CHICAGO – Two comedies that were on the bubble of cancellation just a few months ago are being thrown into the deep end on Tuesday nights by ABC, starting tonight.
CHICAGO – With so many laughless sitcoms premiering this season on ABC, it’s tempting to overpraise a show that actually manages to be funny. “Happy Endings” has already received a good deal of praise from Hollywood Chicago for its top-notch ensemble and vibrantly witty banter, though it’s not quite in the same league as the shows it wishes to emulate, particularly “Friends” and “Arrested Development.”
CHICAGO – Why can’t anyone figure out how to use Anna Faris effectively? She’s got some of the best comic timing of any actress working today but she can’t find a good script in which to display it. Take her latest venture, the misogynistic, creepy, and just BAD “What’s Your Number?,” a pale excuse for a chick flick that should look even more ghostly in light of the similarly-themed and far-superior “Bridesmaids” earlier this year.
CHICAGO – It’s a good thing ABC’s sitcom “Happy Endings” is only 20 minutes, since the frenzied pace of its gags run the risk of exhausting its audience. With so many rapid fire punch-lines bouncing off the screen, one quickly suspects that the perpetually hyper energy level is a sign of desperation. Sampling any given moment from this show could easily repel potential viewers.
CHICAGO – ABC’s new sitcom “Happy Endings” is undeniably yet another “Friends” rip-off, an attempt to make a pal-com about relationships, misunderstandings, and good buddies. I’ve seen enough of these things that I automatically get a bit defensive when they appear on my desk. If you sat through junk like “Traffic Light” and “Perfect Couples,” you would too.
CHICAGO – With great comedies often being cancelled before their time, how many TV writers and producers look at the trajectory of “Scrubs” with awe?