This is one of those comedies in which the actors’ and writers’ skills are so sharp that the whole enterprise feels effortless.

The good news is that the smartly written "Saving Grace" is not a mess. In fact, it's one of the most distinctive new shows of the year.

Mad Men is first and foremost an intelligently made character drama.

The real pleasures of this half-hour show come from its sly sense of humor and from Belle’s practical yet adventurous approach to her job.

Shrek the Halls may not be an instant holiday classic--nothing can really compete with the Grinch, the Peanuts Christmas special or the various Rankin-Bass offerings--but it’s enjoyable enough and likely to induce at least a few giggles.

At three hours, this adaptation might seem a bit lengthy, but when Raisin’s female cast members are on the screen, the time flies by.

Both the book and the miniseries sketch admirably human portraits of historical figures such as Adams, Jefferson and Franklin.

In its solidly crafted premiere, the CBS drama demonstrates admirable restraint while still telling a reasonably interesting story.

The dialogue is witty, the pacing is brisk and there’s some real heart amid all the tokens of the Palm Beach high life.

The creators of this comedically-flavored drama clearly know what they’re doing and this season, it’s certainly worth taking a gamble on Easy Money.

Luther, the story of an impulsive, very intelligent London cop, manages to be an excellent showcase for Idris Elba (The Wire) and an increasingly impressive character drama that goes to some dark and absorbing places.

Sherlock is an enjoyably clever mixture of character drama and adventure tale.

When it comes to espionage stories or action-adventure in general, originality isn't as crucial as a good execution of the basics, and in that regard, the first hour of Nikita delivers.

The diverting and enjoyable Terriers occupies a different stylistic territory, but there's a noir strain underneath its shaggy exterior. As the best detective stories do, it features a smart, flawed lead character who is too stubborn and inquisitive for his own good.

On the whole, I'd say The Walking Dead worth a look, no matter what your genre preferences, but horror aficionados are more likely to enjoy this intense, blood-spattered tale, which, like all AMC dramas, is about as aesthetically well-crafted as a TV show can be.

The Defenders which, like those other shows, is a pretty straightforward legal procedural, has a surprising amount of fun with its familiar building blocks.

The Event was a well-paced hour that played skillfully with time, and if the characters were a little thin, well, it's a pilot--it'll take time to give characters shading and dimension.

What's especially impressive in Season 3 is how cogently and clearly events in the two different universes are handled. It's not hard to tell which is which and it's not hard to follow how the two worlds are connected, and those connections have only deepened the mythology in pleasing ways.

Damages isn't on the level of 'The Sopranos,' but, like Ellen Parsons, it knows what it's about these days. And if you want to see some prime, grade-A Acting, well, you could do a lot worse.

What a light, yet satisfying treat this show turned out to be.

Much of which transpires in the first few episodes seems familiar, if not a little predictable, and what saves the Taylors from being impossibly virtuous are the flaws the writers give them and the consistently great performances that Chandler and Britton give.

Like 'Breaking Bad,' 'Mad Men' and 'The Walking Dead,' The Killing uses savvy aesthetic choices and minimalist but effective acting to create a vibe and tell a story with an irresistible undertow of forward momentum.

Some aspects of this show work better than others, but, in its generally excellent second season, the drama has cohered into a compelling, if sprawling, portrait of the Crescent City.

An animated comedy that is propelled by a very strong voice cast and by its own daffy comedic momentum.

White Collar's return is a sprightly, enjoyable affair--stylishly shot, well acted and deftly threaded with moral ambiguity.

Sure, it's not particularly deep and has some pacing issues, but it's a generally watchable, well-acted effort.

Fifteen minutes into A Gifted Man, the performance of Patrick Wilson, Jennifer Ehle and Margo Martindale had completely won me over, and of all the pilots I've screened for fall, this is the one I most want to see more of.

The bottom line is, if you liked the what the show was dishing out in its first season--genre storytelling made with admirable restraint and economy, except for those jump-out-of-your-seat scary/gross moments--you're likely to enjoy what you see in season 2.