It's slightly unpolished in some areas but funny and charming and a perfect companion series to "Chris."

Endeavour is wonderfully entertaining on its own, but what puts it over the top is its loving respect for John Thaw.

The performance quality of the show is matched only by the sharpness of the writing.

The workaday mysteries of Jackie and the phenomenal performance of Falco are more than enough to hold down the series while the rest of the characters find their niche.

In the end, it's easy to overlook some of the credibility gaps because the writing is otherwise so fine, as are the direction and the performances.

Manhunt may not have the thrills and chills of a Hollywood feature film about the raid on bin Laden's compound, but you'll come away from a viewing of the film knowing that there is much more to covert operations than midnight raids and state-of-the-art electronic surveillance.

There's nothing inherently wrong with The Good Wife other than it's a legal series with too many close-up shots of knowing glances and "attagirl Alicia" moments of empowerment that you saw coming 20 minutes prior.

An argument could be made that so much attention to the history-making World Series runs of both of their favorite teams - which happened after the original documentary aired - is excessive, particularly with the Yankees. But that's a minor quibble in an otherwise superb, informative account.

It has some winning moments, and clearly the cast members are having fun with their roles. In the end, though, it just doesn't connect the way it really should have.

The Chicago Code may stick to police-procedural formula, but it does have most of the elements needed to make the show at least a moderate success. With better writing and a bit more imagination, it could do even better.

"Ugly Betty" is worth checking out. It retains a charm that far outstrips expectations. And Ferrera's performances are small wonders to behold.

Logue and Raymond-James are, straight out of the gate, the two most believable and funny buddies you'll see on the screen.

Raising Hope works on two levels, the absurdist gags about dysfunctional families and lower-class values that populated "Earl," and the never-too-saccharine sweetness that Jimmy brings to the world. If Garcia can keep up this mix, Fox may have itself a non-animated comedy hit.

It's Close who makes "Damages" a series to contend with.

Although the characters have only scant or fleeting redeeming personal values, we continue to buy into their machinations because of how they are created and because of superbly convincing performances at every level of the cast.

The acting here is exceptional and the writing strong and honest. Though "Brotherhood" may not be in the rarefied air of "The Sopranos" or "The Wire," it's still a major achievement for Showtime's original-series development and yet another top-notch cable drama.

In the best tradition of light but engaging (and highly entertaining) dramas, Burn Notice is plain and simple fun--you want to come back every week.

This may not be Martin Scorsese's most sophisticated film, but it actually takes a smart filmmaker to understand that, with a subject like Fran Lebowitz, the best thing you can do is let her talk.

Whitechapel may not reinvent the police procedural, but it's great fun, and the third episode is a heart-stopping race against time.

"Studio 60 on the Sunset Strip" lives up to the advance hype, easily qualifying as one of the best new broadcast series of the fall.

If Amy really was enlightened, there'd be no show, but the fact that she's wearing her enlightenment like an ill-fitting coat gives the show both its comedic and plot trajectories.

"Deadwood" fans already know that Milch doesn't make it easy for viewers to get a purchase on his series, but for those willing to do the work, Luck, pays off.

Awake grabs you, unnerves you, breaks your heart and even makes you work a little.

Just as "A Mighty Wind" and "Waiting for Guffman" aren't like traditional movies, "Family Tree" isn't like traditional sitcoms, in that there isn't a traditional setup-punch-line structure to it. It does evoke comedies such as "Curb Your Enthusiasm" and "Arrested Development," though, where the humor is more incremental, character-based and cumulative.

Most of the performances are very good and some are thrilling, particularly Kline's Jacques, whom he imbues with great world-weary nobility.

By having everyone around Jackie seem daft, quirky or incompetent--an attempt at humor, one would guess--the series never felt connected. Those elements improved by the ended of Season 1 and have, for the most part, been ironed out in the early episodes of Season 2 (though the tone will need to be monitored).

Composed of extraordinary source footage, most entirely unseen before, that combines newsreels, U.S. and British television shows, home movies and hundreds of rare photographs blended with the requisite talking-head interviews.

Key and Peele are sufficiently talented and versatile to carry off a half-hour show on their own.