Tonally, it's all over the place.

The show still feels like it's coasting off the success of those super-charged early seasons.

OK, so I'm having a real problem with the idea that Bridget could get away with this switch for even one second. If you can look past that, you'll still have to deal with a story so dense it takes a couple long expositional scenes to explain it all.

It's fun to look at, but there's not a lot of substance underneath.

Johnston, Faison, Knight and Basche have their moments, but more often than not they hammer the jokes home, mugging insufferably as they do so.

By pulling the curtain back on the magic of Neverland, Willing has stripped all the fun from a marvelous classic.

If the writers relax their death grip on that formula and Handler stops choking the proceedings, Are You There, Chelsea? might be worth another look.

Sounds promising, but the premiere falls flat.

Missing barely winks at the silliness it slings.

BFF uses the most obvious male-female cliches.

Get on The Client List only to see some ripped abs; everything else is nonsense.

These gals are at times so self-absorbed it's difficult to feel much for them when things don't go their way.

A show about a hot gay couple who are both cops would have been a lot more interesting than the umpteenth light police procedural USA has delivered.

I get the feeling Grace will always do the right thing, which is going to make The Mob Doctor predictable and not all that entertaining.

The Neighbors revives an old storyline used in everything from the the "SNL" Coneheads sketch to "Third Rock from the Sun." It just doesn't do it as well.

"Law & Order" mastermind Dick Wolf doesn't blaze any new trails with his latest effort, but at least he's getting out of the courtroom and precinct house.

The movie holds these men and women up as heroes, but it makes them rather bland cardboard cutouts.

While Prosecuting Casey Anthony does a decent job of re-creating the trial and media frenzy surrounding it, it fails to offer theories as to why the jury didn't convict her of murder.

The M&Ms are brutal and might have set Monday Mornings apart as a psychological examination of regret and human error. But in the three episodes sent for review, producers David E. Kelley and CNN chief medical correspondent Dr. Sanjay Gupta (adapting this from his 2012 novel) instead overdose on the same sappy storylines we've seen before.

The addition of Chicago native Hudson is a masterstroke, but with all that other melodrama, Smash remains a hit-or-miss proposition for me.

The HBO special comes off more as another managed attempt to forge the legend of Queen B.

Despite fine acting from Cumberbatch and especially Hall and rare moments of comic relief, this adaptation of Ford Madox Ford's novels feels heavy and suffocating.

Despite its historic gravitas and scrupulous attention to period detail, Spies of Warsaw never really ignites.

In seriously exploring what drives people to kill, Hannibal serves up a meal too heavy to enjoy each week.

Not only is the production harmed by its overloaded pilot and just fleeting moments of originality, its visual effects and alien makeup design are wildly inconsistent. Despite all this, Defiance grew on me the more I watched.

Both believable and appealing as the hard-bitten homicide investigator, Lehman provides the only real motive for tuning in.

Unlike "Archer" or "Sunny" or FX's "The League" and "Wilfred," Unsupervised refuses to go for the throat. And that makes it unfunny.

Much of the writing here is dreadful; scenes go nowhere while thinly developed characters pop in and out of the action--although there is little action early on.