Although titled The Defenders, there is no mistaking this stubbornly and unaccountably bland legal show for the bold CBS series of the 1960s with the same name.

The premiere of Angel suggests this is a fairly grim and humorless series, though perhaps not entirely predictable. With no Buffy to offset the intensely glowering and eternally brooding Angel (David Boreanaz), the former love of her life, the spinoff becomes a sort of "Touched By a Vampire," a show in danger of taking itself far too seriously and the audience far too lightly. [4 Oct 1999]

Finnigan, who was so right in NBC's loopy comedy "Committed," lacks the heft for the role of the no-nonsense prosecutor. Not that, as written, the role would be easy for anyone. It requires Annabeth to be a vigorous and energetic protagonist and, simultaneously, a weepy young mother with postpartum blues.

Although it would be extraordinary for any series to match the level of political complexity and realism of "The West Wing," this one barely tries.

A fairly pedestrian comedy that needs all the studio-generated laughter it can muster.

Although more like "Felicity" than "The Paper Chase" in attitude and subject matter, early indications are that the characters in this eight-episode series have neither the depth nor texture of either of those shows.

The premise of an attractive group of friends living and loving in the Big Apple is not exactly a novel idea, but there's always room for a series that resonates with a distinctive new take, a unique perspective or memorable characters. Unfortunately, this isn't it.

For someone named Pepper, this character is awfully bland.

There's little point in critiquing the acting other than to say this isn't a production that will embellish anyone's list of credits. Nearly everyone here is a caricature trying to make the best of a miniseries that is all about the special effects.

Despite its pedigree as a "Hallmark Hall of Fame" presentation, "Silver Bells" is only slightly more sophisticated than an after-school special.

This depiction of John Paul II as half human, half saint -- though hardly unexpected and possibly even warranted -- leaves us with a character that is less dimensional and less relatable and, consequently, less interesting.

Maybe this show would be more compelling if the Donnellys were a little less black and a little more gray.

"Brothers & Sisters"... has all the traditional themes of unhappy marriage, unmet parental expectations, unexpected financial chicanery and (possibly) unfaithfulness. It deals with them convincingly, though not with any great depth or insight.

It's an attractive premise but a pedestrian execution.

Mostly silly, pretentious, soap opera-style TV with an escapist mentality and the subtlety of an avalanche.

For now, it remains more like a group of shuffled skits than a cohesive series.

Put simply, Spencer lacks the heft for the role.

Apart from its New Mexico setting and its witness protection angle, little stands out here. Stories are less than suspenseful and characters are mainly two-dimensional.

The best thing in the show's favor is its single-camera style and a cast that knows its way around a punchline, though these are few and far between. In general, stories are contrived and exaggerated, and they fail to deliver even a mild comedy payoff.

The series, even after a second episode, is stuck in a rut. After awhile, the insane predicaments of these overprivileged characters are more pathetic than funny.

Even skillful performances by its largely unknown cast aren't able to hide the lack of character development and the sense that the people in this series are almost self-parodies.

Plaudits to Ambrose for her effort to bring some honesty to her scenes, but it isn't enough to keep the show from imploding.

The more K-ville captures this aura of gloom, the more depressing it is to watch.

The main reason to watch can only be Holly Hunter.... Although she's a prisoner of the material, her performance is so good that it can distract you from this otherwise simplistic take on a complex issue.

This farmer may want a wife but, in the end, the only guarantee is that he gets a reality show.

For all its gore, Dead Set has a frightening lack of suspense. Then again, except for Kelly (Jaime Winstone), a "Big Brother" producer with a dysfunctional love life, most of the characters are so lacking in humanity that the transition to zombie isn't much of a leap.

If one dispenses with the seemingly coaxed melodrama, the well-rehearsed family scenes and the endlessly repetitive bumpers, an occasional nugget of helpful information on tracing family roots is discovered.

Bored prefers droll to funny. Almost implicit in its tone is the attitude that viewers should be satisfied merely hanging out with the literati of New York, flawed though they might be, and not hope for compelling stories and charismatic characters, as well.