A perverse pleasure to watch.

Valentine in small doses can be goofy good fun, and there are enough hot bods--including Autumn Reeser of The O.C. as the Oracle of Delphi's handmaiden, Kristoffer Polaha (Mad Men) as Eros and Robert Baker (Leatherheads) as Hercules--to soothe even the deepest political paranoia.

Watching Cult is like trying to read a Kafka novel in Sanskrit. When you’re blind. And drunk.

Vulgarian avarice, unfortunately, is one of the high points of Shedding For The Wedding. Far more disconcerting is the number of couples who say they want to lose weight because sex between fat people is--well, let's spare the details and just say "yucky."

Ken Kwapis, who developed Outsourced for TV, had nothing to do with the movie. And in his hands, the film's charm has curdled into caricature. All the Indians are dysfunctional weirdos, incapable of even simple social interactions.

An exercise in moronity.

If you were reduced to hysterical laughter by the concept of herbal breast-enlargement cream in the film, you will likely be so again by the superpower-conveying acne medicine in the TV show. If not, well, welcome to Normal Town.

Dismal and disoriented, under-plotted and over-allegorized, the six-hour Prisoner miniseries that debuts on AMC Sunday night is an exercise in full-tilt dramatic tedium that will appall anybody who remembers the original and bewilder anyone who doesn't: What was the big deal about that?

Sadly truncated.

As a kind of CSI: Sleaze City, the show is quite watchable.

This kind of comedy only stands a dim ghost of a chance if it has a lot of gratuitous nudity and substance abuse, along with the words ''National Lampoon'' in the title.

Fans of Grey's Anatomy femme fatale Addison Montgomery may find her a little dull now that she doesn't have a husband or boyfriend or intern to cheat on or with in ABC's spin-off Private Practice.

The aggressive fakery of School Pride makes it unfortunately difficult to believe when the show throws some unexpected punches.

Where The Sopranos slices and dices American culture from a thousand different angles and The Brotherhood explores the shadowy nexus between crime and politics, The Black Donnellys sticks mainly to the vices, virtues and vicissitudes of family.

A soapy delight of hard bodies and dirty doings.

The Loop's constant jokes about hot bodies and alcoholic excess would doubtless wear thin very quickly if not for a lunatic cast of young unknowns and gifted veteran character actors.

With the pace of a music video, the characterizations of a comic book and the political-correctness quotient of a Berkeley vegetarian commune this production makes Cecil B. DeMille look like a sober theologian.

Crumbs' approach to the foibles of the family, though not for the tender-hearted, is raucously funny.

It just substitutes South Africa for "Everwood's" Colorado, trite idiocy for "Everwood's" sharp dialogue, and a game of blind-man's-bluff for "Everwood's" casting director--actress Leah Pipes, who looks 25 and sounds 30, is the least convincing teenager since Stockard Channing staved off menopause in "Grease."

Smutty at its best, downright creepy at its worst, this dreadful attempt to mock the coming-of-age genre could well be the first TV show to get an entire day of the week canceled.

Chemistry is just one of the ingredients lacking in the Canadian-made The Listener, NBC's new drama about a psychic paramedic. Others include but are not limited to plot, dialogue and acting skill.

The Cho Show is the television equivalent of anti-matter: no scripts, no punch lines, just Cho hanging out with her self-consciously weird entourage. What a waste of one of the most scandalously funny comedians in America!

The relatively no-name cast (which includes Craig Bierko as a recently dumped financial planner, Rashida Jones as a divorce lawyer better at managing breakups than relationships, and Johnny Sneed as a three-time-loser party boy) is excellent, and the goofball writing hilarious.... But this is buyer-beware territory, with something to offend practically everybody whose age or IQ exceeds 16.

Anger Management is kind of a mirror image of Sheen: scabrously, outrageously funny at times and monotonously one-note at others.

A gaspingly funny show that you ought to watch early and often.

There's nothing really wrong with the show, at least nothing you can easily put your finger on. It just lacks that elusive but absolutely necessary spark of life that turns a stack of script pages and publicity stills into something that will stop you from clicking the remote.

Funny and talented, she [Rachel Bilson] tries painfully hard to make the show work and occasionally comes close to overcoming some of the worst writing since Gutenberg invented movable type.

Made in Jersey is only sporadically engaging.