Nice looking, but not nearly enough action.

Most of the material flatlines even before it begins, while never rising to the level of the HBO series to which it pays homage.

Sure, it all looks and sounds achingly familiar and blandly dumb, and maybe some of it is. But check the brain at the door. You could do much worse.

It's inert, lackluster and a trifle old-fashioned. Even the action scenes feel geriatric. It's also vaguely silly--a big reason the venerable good twin/evil twin gambit is better suited to comedy than drama.

A rare HBO misfire--but I do hope Amy finds peace.

There's a smoldering ember of promise here, mainly in the cast, even if the pilot tended to smother it.

Sure, there are some fun moments. Sure Brosnan looks mah-velous. He always does. But a little less plodding plot and a lot more action, please.

In spots, it's been turned into an antic Saturday morning cartoon. A shame.

Too brittle and full of bile to cleanly hit the target.

The River still has a quirkily eccentric charm. It's just so deliciously odd.

Not so much scandalous as scandalously dull.

Nice locales (Paris! Rome!), a couple of decent action sequences... but otherwise a tepid potboiler over-seasoned with too many spy tropes and a plot with too many gaping holes.

The show ambles along without getting viewers to particularly care about Alex or Pete. Without that requisite electricity, they're hollow, or just sad.

Nothing remotely lurid in either show [7 Days of Sex and The Conversation With Amanda de Cadenet].

Violent and dull.

Perception is both clever and ridiculous.

Not great comedy, but hopefully the beginning of long overdue recovery process for a talented, troubled actor.

Still sweet and sad, but often dour and slow, too.

It's all weirdly engrossing.

The Following is a bummer of significant proportions. Not that it's bad--it's not--but it's bleak, sordid, blood-spattered and creepy (though not necessarily always "creepy" in a good way, like "The Walking Dead").

Hannibal isn't quite the sum of its admittedly evocative parts. The story is often strained, or like that poor synth operator, overextended; the shocks tend to be operatic--oversold as opposed to a deft sudden jolt to emotional solar plexus.

The Latina female leads are--to put this in a way that's both politically correct and blandly inoffensive--vivacious.... That trademark Cherry wit, written in acid, is evident here. too.... But the biggest problem here is the sprawl--lots of stories, lots of characters, lots of colors--and not one them going anywhere in a hurry.

A messy newcomer with a "Twilight" saga vibe and "Twin Peaks" DNA.

Falco--as always--remains one of TV's bright shining lights, but her Nurse Jackie suddenly feels like a work in progress.

Thin, flavorless high school gruel, but the lead bad boy is intriguing.

Princesses is not nearly as offensive as "Jersey Shore." The bad: It's still pretty dumb.

It's still the Meredere (or Deremere) show, and Cristina's right. It's just ... so ... over.

I think I comprise a third type--a wary Weeds fan who's happy it's back but hardly ecstatic.