Ultimately, Go On is about a group with quirks and heart, stirred up by Perry, and the pilot is largely appealing until the final minutes, which are as broad as the 405.

Does that make sense? If not, well, Revolution doesn't make a lot of sense, but it's a lot of fun.

Ramsay naturally creates drama wherever he goes, and despite a few forced scenarios, the fly-on-the-wall editing smoothly and engagingly creates narratives amid the chaos.

If, like most sitcoms, Mindy still is in a growth phase, it's clear the writing and acting are there to be developed.

Arrow, proves to be both on-brand and entertaining--if you turn off the snark detector and downplay the need for plausibility or logic.

Rote but entertaining, Chicago Fire can't be ruled out as perhaps one of NBC's best chances for a hit.

Yes, it can often sound like a pulp setup bound to go sideways, but Banshee ends up being taut, entertaining and smart enough, and you won't completely turn your brain off.

There's a lot of genre-bending in this one but some real entertainment value, dramatic potential and, hell, if it can be half of what Battlestar Galactica was, that's a winning combination.

They are real people with plausible emotions. And in the hands of Josh Schwartz (Gossip Girl, The O.C.), Amy Harris (Gossip Girl), Bushnell and two other executive producers from the CW's Hart of Dixie, the storytelling has a chance to be handled maturely.

Zero Hour has lots of twists and turns that could be worth following. It also has the DNA to be laughably bad.

Stoppard's storytelling structure has an odd rhythm to it, and White's direction can be both majestically beautiful and transitionally jarring. But combined, their choices allow Parade's End to achieve an exquisiteness, a sense of high art.

While it’s clear that Vikings isn’t going to be Game of Thrones, it’s a series that increases its entertainment value and interest level as it goes along.

There’s a lot of material to mine here and Goyer, Starz and Da Vinci’s Demons are off to an entertaining start.

Discerning viewers -- and anyone who's hooked on "Lost" -- will realize that "Jericho" is doling out hints to a very large mystery at a very slow pace, which is never a good combination.

Setting up the first big heist takes all of the first episode, so our introduction to Smith and crew is too quick, more than a little forced and ultimately not compelling enough.

"Help Me Help You" has a few more surprises and comedic heft to it than expected.

O'Brien's debut was pretty much what one would expect from these kind of pre-hyped events. It was both funny and forced and the expectations of - what, exactly?--never seemed to materialize, even though Will Ferrell as the sole guest tried to drum something up and Pearl Jam, as the musical guest, at least kick-started an aural ruckus.

Body of Proof doesn't break any new ground as a procedural and has more than enough hokey moments to make you look elsewhere. But as a case study of how and why star vehicles get made, this is textbook.

Part of the hedging about Mr. Sunshine stems from her role. In the pilot, it's a wildly over-the-top portrayal that's simultaneously fun to witness but worrisome as to whether Janney can pull it off every week.

There is a lot of potential in this series. It's just a shame that it appears to be veering away from something completely different--something darker and more sci-fi and ambitious, and settling into the feel-good, be-safe vibes of both Jurassic Park and Avatar.

Judging from the first of six hours that will air, this might be the perfect series where you can plop on the couch, pop a beer and think, "This is all a little odd."

You should at the very least check out Bello, who does fine work here.

It could be that, like a lot of sitcom pilots, Broke Girls is trying too hard. But when the jokes work, they're funny, so there's hope.

Lilyhammer is an odd little series with potential.

Anger Management is really just a slightly more content-dangerous network sitcom.

Told mainly from the perspective of the criminal, L&O:CI has a superb cast (Vincent D'Onofrio, Courtney B. Vance, Jamey Sheridan). But you can't get past the fact that you've seen this all before, just assembled differently.

After watching the first four episodes, it's clear that despite the familiar adrenaline rush and a (temporarily) tighter rein on the ridiculous, 24 hasn't changed much at all.

The problem is the lovely-to-look-at pilot, which unfortunately has a heavy dose of saccharine and corn mixed in. There's a voice-over that makes you think you're about to watch some heartwarming Christmas special, and there's dialogue that strains so much to be moving that it falls flat and stiff.