Even when the show gets a bit melodramatic or overwrought, however, Parenthood's good intentions radiate throughout its many story lines. But do good intentions make for reliably compelling family drama? That depends on your tolerance for its frequent tonal shifts and occasional manic intervals.

The Middle hits its comedic targets often enough, but its main problems is that it overdoes the quirkiness a bit.

The Gates actually moves along at a brisk enough clip, and though it's bland around the edges, it introduces enough mysteries to keep things more or less interesting (there are allusions to a "code" residents must live by, and presumably that doesn't refer to local regulations on lawn care).

This pleasantly low-key drama has little trouble creating an atmosphere, but the pace is sometimes slack in the first four episodes.

Sanctuary’s pace is a little on the stately side, and the show is competent if not particularly innovative sci-fi.

House seems a little off when it returns for its fifth season. My diagnosis: A chemistry imbalance.

You expect the Big Moment on Grey's Anatomy, and the usual array of melodramatic developments in Thursday's two-hour season premiere. On the plus side, at least this episode isn't as padded and maddening as past two-hour Grey's episodes have been.

By the end of the five episodes HBO sent for review, one's interest in the tangled future of this offbeat clan may be piqued, but be forewarned, it takes a while -- and there are a lot of petty spats and crying kids -- before one gets to that point.

"Hex" takes a while to cast its spell, but it may yet prove itself worthy of viewers' attention.

It may not have the subtlety or sophisticated wit of "Arrested Development," but it's not supposed to. It's more a combination of "The Office" and "Four Kings" -- with really good music and a distinctive, energetic visual style.

Even as you laugh at the clunky dialogue, cringe at the large hair, get annoyed by wardrobe stylists who think that the "Miami Vice" look was still hip in 1986, you will get sucked in to "Reunion's" murder mystery.

Millman... is kind of an irritating guy, and the conceit of the show wears thin pretty quickly.

The biggest problem with Fox's "Kitchen Confidential" is that star Bradley Cooper... is far too appealing to play a bad-boy chef.

If you don’t like hints of Harry Potter mixed in with fairly straightforward procedural elements, this may not be the show for you.

It may not be blessed with the most felicitous dialogue of all time, but “Day Break” is a solidly constructed and fast-paced drama.

Despite its jittery camerawork and souped-up graphics, "Justice" is just a reasonably well-made, meat-and-potatoes lawyer show.

Nothing that happens next is particularly surprising, though the plot rolls forward with workmanlike efficiency.

Overall, the new Fox sitcom is surprisingly winning, and the skilled Corddry is the main reason.

Another workmanlike, reasonably decent thriller.

Feresten... is engaging in a slightly weird, self-mocking, Letterman-esque way, with only occasional forays into dippy post-frat humor.

It’s by no means must-see TV, but this is one game show you don’t have to be ashamed of getting sucked in to.

“Army Wives” is by no means a perfect show, but there’s a lot of potential material in the lives of these women.

The glimpses of old-fashioned heart in Sid’s story, and the characters’ deadpan humor, make this show a mildly intriguing chronicle of youth.

After going through its share of growing pains, it now operates with clockwork efficiency. But the characters seem even more one-dimensional than they were last year.

Welcome to the Captain attempts a similarly shaggy, loose sitcom vibe, but isn't quite successful, though it's at least watchable.

K-Ville is a solidly crafted drama with admirable focus and energy.

Though it's competently made and catches fire dramatically from time to time, Canterbury's Law doesn't have quite as much dramatic depth as those other shows ["Damages," "House" or "Saving Grace"]do at their best.

Still, despite Chuck’s zippy pace and fun dialogue, this nerd-friendly "spy-fi" show from "O.C." creator Josh Schwartz has plot holes you could drive a truck through.