So, during the course of three episodes, there's not much sucking up, enough dissing to keep the whole thing honest, tons of magnificent cars, fast driving and enough goofiness to make this Top Gear get off the line without any mishaps.

The escapism is sky high. Valley remains as charismatic as ever, with McBride's disdainful asides and Haley's chilly creepiness intact. It would be unfortunate if Human Target somehow got soapy or dumber, because good popcorn is rare.

Seriously, one day, NBC will be run like a real network--and bask in the fact that our Pawnee pals have returned, and there are plenty of excellent episodes in store.

It could be argued that Fox has pulled off something even more remarkable with the debut of the less-than-thrillingly titled Traffic Light, a romantic comedy whose concept was imported from Israel: because it is both funny and remarkably realistic.

Code is not a game-changer in a genre that likely won't be changed again for some time, but judging by the first three episodes it's already gripping television and Fox has found a competitive new drama.

Beers and his crew are old hands at this, and they wring the drama out of Coal very quickly and compellingly. They get beyond the danger into the emotional territory, and that's where the gold is.

When everyone behind the camera is an admirer, including Ocean's director Steven Soderbergh, the doc's exec producer, then you won't get much introspection. But, boy, do you get stories told with the vivid sense of drama and imagery that old Homer would no doubt admire.

Thanks to its camera-ready cast of extraordinarily real women, Mob Wives' version is no less affecting. As for those other real housewives franchises, their endless squabbles and social climbing antics are rendered rather trivial after you watch the first five minutes of Mob Wives. The real action, it turns out, is on Staten Island.

HBO's Too Big to Fail is mesmerizing and, if you can call watching an economics lesson from hell entertaining, then yes, it's entertaining.

Oxygen's entertaining new spinoff reflects well on the blockbuster franchise and illuminates the pressures faced by talented kids on the brink of showbiz success.

OWN has tapped into an often uncomfortable, always entertaining in-progress drama that keeps you guessing.

While all the philosophical, existential and surprisingly intimate moments of their friendship are the wonderfully surprising backbone to Wilfred, the hook is the absurdist situations and brilliant humor.

The good news for Sons Of Anarchy fans is that series creator Kurt Sutter leaves no doubt that he's put the series back on solid ground in Season 4 and, in turn, delivers all of the larger-than-life storytelling that viewers mop up.

Creator Elizabeth Meriwether manages to make the situations funny and lets Deschanel channel her charm--a winning combination.

Intriguing and genuinely fun.

Suburgatory is an interesting little sitcom in that all on its own the show deserves your attention for the merits [nuance, snark, sweetness] mentioned above.

Dern, Wilson, Ladd, White and Sharp are excellent in this strange little vehicle.

She is all over the map and that's precisely what's refreshing about her. What the world needs now is not another over-stylized, super-slick talk show.

It has chills and humor and the ability to take a procedural story and twist it.

You come away from the show having broadened your understanding for a sector of, yes, American life that you may not have had much contact with before. By the standards of the genre, that's about as good as it gets.

The first few episodes deliver something unique for reality television.

House of Lies is giving him (and the rest of the actors) something fresh and different to devour, which makes it a show you need to consult with.

Luck is a smart and ambitious series that looks to truly pay off in the home stretch.

In all, The Loving Story is a perfect time capsule that illuminates the racist past of our country with a uniquely personal and poignant emphasis.

With Life's Too Short, he [Ricky Gervais] again delivers.

If people stay with it, what they'll find are exceptional performances, some truly fine writing and a premise, by virtue of being complicated, that could unspool some really interesting plotlines.

The film isn't trying to break ground with revelations, so what it comes down to is whether Game Change is a good movie, as opposed to a balanced documentary. For the most part, it is.

Your eyes are in for a treat, and Judd grows on you.

Going into Season 2, the acting performances are the primary reason to tune in.

The Borgias retains the intrigue and conniving family politics that made season one such a pleasure ride, but it all has more snap now, with Jordan spinning the plates with aplomb.

The show from creator Nahnatchka Khan is fresh and funny, with fast-paced jokes and witty cynicism in abundance.

A dynamic, vivid, well-acted look at two major 20th century writers who shared wars on the battlefront and at home.

Despite the leisurely pace of the filming, which lacks a certain amount of dramatic tension, there's a fiery spirit to Push Girls that cannot be ignored.

If you're not put off by some of those Sorkin traits--and honestly, they are ever-present--then The Newsroom might be a drama that hooks you with what it's ultimately trying to say about some complicated issues.

CBS has managed to create a period piece without relying solely on that factor as the cool conceit.

Along the way, Elementary should prove rather conclusively that it's a solid cousin to Sherlock and will give fans of the character more chances to see him solve crimes.

There is a slightly claustrophobic feel to some of the pilot--reminiscent of the feeling the revamped Battlestar Galactica gave--but you can't help but feel that on a submarine. Despite that, Last Resort manages to move at a feverish pace, with pulse-pounding twists and turns.

Khouri's strong writing and sense of character prove the show is no mere soap--does an excellent job of identifying them [storylines] without spending too much time on them.

It never flags in pace, and all the performances, even the smaller ones (like Gambon's), are enthralling.

By the second episode, 1600 Penn neatly has found its compass on how to be a show about the first family and how to define the ensemble.

Fellowes has a stronger hold on telling the individual tales of his well-drawn characters, and that pinpoint focus utterly redeems the series early on.

The filmmakers at times push too hard for a sense of freshness and drama. But at its best, the seven-part series is a breathtaking chronicle of species both familiar and rare, some of them engaging in stranger-than-fiction behavior in otherworldly landscapes.

Obviously Legit isn't yet in the realm of Louie, one of the best comedies on television, but like Wilfred before it, the show is setting its tone early and hitting that aforementioned sweet spot impressively.

Ripper Street is a well-acted, well-written and compelling mystery series. And even better, there's no waiting around, wishing it would improve. It's alluring from the start.

Travel shows have been done and done again, and it's hard to find one that breaks new ground. The most important element is usually not the scenery but the host, and BBC America found a great one in the British actor Dominic Monaghan.

Boston’s Finest is a sleek and engaging work that is a world away from Southie Rules or even Cops, but it fits in perfectly with TNT's love of Law & Order.

Expect a slow(ish) rollout for Bates Motel, as the first couple of episodes establish character and location, before things take an uptick during episode three. But there’s more than enough intrigue and entertainment--on top of Farmiga’s outstanding turn--to keep viewers wanting more of this new-style nonhomage to Psycho.

Felicity lacks the quirkiness and the humor of "Ally McBeal." However, it has a warmth, a charm and a dramatic urgency that could, at least in part, justify the buzz. [28 Sept 1998]

Even though the movie is loaded with enough to satisfy those who believe Spector did it, as Mirren’s role is written and Pacino’s performance hints at, the film seems eager to suggest Spector was found guilty mostly of being a freak. That have-it-both-ways storytelling doesn’t make Phil Spector a great legal movie, but it allows two exceptional actors and a talented writer a chance to play with reality.

If all of this sounds a tad far-fetched, it is. But the amazing thing is that - among the quaint setting, the particularly endearing cast and exec producer Greg Berlanti's sweet, engaging script, crammed with little surprises - this turns out to be a really pleasant ride. If there is a single new drama this season with multigenerational appeal, this is it. [16 Sept 2002]

This isn’t look-at-me journalism with a fitted Gap t-shirt. It’s more of a holy-hell-can-you-believe-this approach that fights perfectly on a cable channel trying to do something different.

By the end of the first hour, it has managed to make Dancy, Fishburne and Mikkelsen a formidable trio of characters, and each actor responds in kind with strong, engaging performances. Another sign of a good series is the fact that beyond the main three, the supporting cast is filled with solid actors and--more important--strong, vivid characters.

It takes what's great about the WTF podcast--Maron's smarts, his profound love of and understanding of comedy and the people who perform it--and adds a scripted, fictional element where Sally Kellerman can play his mother and Judd Hirsch can play his father and a bevy of real-life comics and friends can stop by to mingle the two worlds and it all works out marvelously and hilariously.

The actors, including the charismatic William Petersen and the exquisite Marg Helgenberger, lend credibility to the portrayals that might be indistinct in lesser hands. There's also a compelling, pulsating edge at the outset of CSI that commands instant attention, thanks in part to dynamic work from director Danny Cannon. [5 Oct 2000]

Although it will be hard to match "The O.C.'s" ratings, particularly against the blockbuster competition of the time period ("The Apprentice" and "CSI: Crime Scene Investigation"), the "Reunion" pilot offers a more intriguing and creative form of entertainment.

While "Bones" has too much "X-Files" and "CSI" going in the pilot to feel completely original, it's nonetheless a taut, well-constructed, character-rich procedural with genuine potential.

Part improbable comedy, part unrealistic drama, "Head Cases" is nonetheless a clever series that gets incredible mileage out of its two central characters.

Sci-fi purists might find it the taste of CBS' "Threshold" disconcerting, but for the rest of us, this is scary fun and suspenseful dramedy.

If you can ignore for a moment a logical flaw that permeates the series, you'll find an absorbing, well-paced legal drama with both heart and attitude, not to mention cinematography good enough to carry the Jerry Bruckheimer imprimatur.

With its superb cast, impeccable direction and mostly sharp writing, "Out of Practice" demonstrates simultaneously how polished and professional a sitcom can be and why TV comedy, with a few notable exceptions, is in such a funk.

The new show dovetails nicely with its lead-in to present a solid hour of skewered news and punctured pomposity.

[An] unflinching and engaging look at the lives of a disparate group of women in their 20s and 30s whose share a love for this rough-and-tumble sport.

There is a dynamic of affection and caring that makes the series more than just a collection of witty lines effectively delivered.

This is good fun -- not necessarily substantial, but fun nonetheless.

Combine the legions of figure skating fans with those who were swept off their feet by "Dancing With the Stars," and all signs point to a breakout hit.

The improv style when done well, as it is here, doesn't generate sidesplitting laughter, but it does produce a steady stream of deliciously enjoyable moments.

It is a series that boasts more than a few terrific performances, and yet it is surprisingly mellow, nearly devoid of the kinds of dramatic moments that resonate after the final credits roll.

Silly, sophomoric stuff that is sure to please its television audience.

She creates an appealing character despite all the preconceptions, many of which are acknowledged and dispensed with in the first few scenes.

Holds its own against the 1956 classic.

There's no shortage of laughs.

Sound more than a little like FX's "Rescue Me"? Absolutely.

It's a Western miniseries with impeccable pedigree, memorable characters, breathtaking cinematography and a story that seems almost as if it had been put together by a committee.

It takes itself seriously pretty much not at all, which is precisely what we want at 10 p.m. on a summer Friday.

A surprisingly refreshing romantic dramedy full of appealing characters.

If the stories aren't entirely convincing, the actors are.

This is a warmhearted dramedy, which gushes charm and family appeal.

Hall... is brilliant at conveying the subtle complexity of Dexter.

Arguably the best comedy this fall.

The visual style is nothing terribly special, but the hues are rich, the writing reasonably clever and the premise a healthy cut above the often lame-o material that passes for creativity in the kiddie toon universe.

It remains a wholly impressive piece of work, stylish and graphic and bold in equal measure while at the same time greatly lacking a cohesive focus.

All series need time to discover their strengths and weaknesses, and this is no exception. However, this show starts with a foundation of solid character comedy, which bodes well for the future.

If there is a chink to this series' armor, it is in the casting of Armstrong in the title role.

The show has a complex rhythm involving characters, satire and sight gags. You can watch "Barker" again and find things you missed the first time.

Working together, Goldblum and Craven create some of the most honest scenes in the genre.

The show succeeds on a number of levels and builds on a well-crafted premise pilot.

A little heavy on exposition.... "Burn" is at its best when Westen is outwitting and outracing bad guys.

Here we have another of those twisted, hit-and-miss, 10 o'clock-hour romps from Comedy Central that travel boldly and unapologetically over the top.

Greek is much more than artful manipulation of marketing strategy. The premiere has several surprises even as it dares you to pigeonhole any of these characters. The talented young ensemble cast works hard to sell the stories and mostly succeeds.

Bee greets viewers with a set of splashy colors, a house band, house singers and house dancers. It's all very hokey, but there's also something lively and real about it.

British reviewers pegged Hotel Babylon correctly when they called it flashy, trashy, cheeky, frothy and "like a perfectly executed souffle."

Even with its eye-rolling plot and its McMusic, High School Musical 2, like the original, does well by doing good.

The producers do a nice job of developing characters and delineating the conflict. It's so good that, with only a few tweaks here and a little better dialogue there, it could rival "The Office" as a faux documentary.

It's clear that this new Fox original series has its class act together as it follows singers both on the verge or stardom and just starting out as they chase their dreams in the capital of country music.

The pilot is full of dark, dangerous and sexy moments.

A slick and earnest soap about rival families in South Florida.

The premiere teleplay from Christian Taylor does a capable, if slightly workmanlike, job of setting the stage for what's to follow, while Coster-Waldau paints a beguiling portrait of a brooding, conflicted, undeniably charismatic soul.

Julianna Margulies--also listed as a producer--is convincing as a lawyer whose only true solace is her work. Still, she lives under a black cloud that threatens to burst at any moment and overwhelm the show.

Season 2 features an expanded role--probably too greatly expanded--for Dale (Todd Stashwick), the dull-witted, violent villain and nemesis from Traveller days. Even so, Izzard and Driver remain a joy to watch in this odd but fascinating series that is derivative of nothing on TV.

It's a showcase for Ullman's remarkable skill, but it is done too fast for the comedy to percolate. We barely have time to figure out who the character is before there's another one. And another. Things are better in succeeding episodes.

Although the drama is sometimes over the top and not always palpable, the action is nonstop. For that, "Samurai" will more than please action-adventure fans.

The single-camera Somebodies concept is gentle and easygoing and character-driven, which potentially makes it a pleasant, earnest little outpost, if not necessarily anything that's going to push primetime in bold new directions.

Despite its 1980s ambiance, you can't simply dismiss the show. It has some genuinely funny lines, though it's not clear who to thank for that.

It's not that Americans can't master the outlandish sketch comedy exemplified by Little Britain USA. It's just that, from Monty Python to Borat to Eddie Izzard, the British invariably do it so much better.

My Own Worst Enemy holds our interest despite its utter preposterousness because if there is anything Slater knows how to do, it's present a believable head case.

Although Whedon infuses Dollhouse with an impressively detailed story line and social structure as well as nifty production values, the show lacks something for viewers to grab onto.

That's a lot of eccentricity, but creator/writer Noah Hawley meshes humor and pathos with deft plotting and dialogue.

Director/co-producer/co-writer Michael Sucsy gets their plight, and he's unflinching about exploiting it. But it's hard to say he exposes the heart of his characters; Little Edie's motivation remains a mystery.

The show is pretty darned funny, especially once you get past the 45-minute pilot and into the half-hour regular episodes (smaller is better, actually).

A goofy setup, to be sure, but an entertaining and lively one.

A dependable source of entertaining fright.

The Fox drama from the Imagine TV stable is fortunate to have a guy with the talents of Tim Roth as a trump card. But even apart from him, the writing and the concept are sufficiently developed from the get-go to prove an instantly intriguing entry that has the major benefit of following "American Idol" and should hold on to a good portion of that audience.

For "Runway" fans thirsty for fashion fights and fits, Fashion is certainly worth a taste.

Shakespeare might be turning in his grave, but he's probably got a smile on his face while doing it.

Dark is an interesting idea with a refreshing lack of bombast and fakery that propels so many reality shows.

What you get is a light fantasy with amusing moments that works in a couple of cutesy songs.

That Conley is a 300-plus-pound guy comfortable in his own skin helps, as does his genuine affection for the larger ladies. And all of that makes this otherwise-routine Fleiss confection a notch or two more interesting.

If creator/writer Dan Harmon earns only a "C" for the framework of his show, he gets higher grades for its brisk pace and clever writing. And some extra credit is in order for casting, as well.

NCIS: L.A., like its parent, relies on a sturdy, mostly youthful cast, sporadic action, and sprightly dialogue.

Although this Valley is too deep at times, there are enough elements to provide a fun, action-packed experience.

Parenthood, like the experience itself, is an evolving tale, and one worth watching.

This might make a better premise for a movie than a series, but Fox is giving it a shot amid its Sunday animated comedies. It could pay off thanks to above-average writing, a winning performance by Tyler Labine and an understanding by the producers that this series must walk a tightrope to avoid becoming too sweet or cynical.

The show is a series of rapid-fire everything: gunfights, car chases and witticisms. The device of jumping backward and forward in time provides a jarring sense of raucous suspense while also keeping things light, and there's no lack of tossed-off lines and information handed out like candy.

This is a show that will benefit from some fine-tuning. What it lacks in originality it should make up for in content, and in the end we all know that this is a franchise (of sorts) that has very good bones.

Although the original remains the greatest (at least, based on the single Cleveland episode made available for review), the newer sitcom has charm, wit and actresses who could coax laughs reading the fine print of a credit card agreement.

That's a lot of potential gothic soap, but fortunately Gates presents a surprisingly well-written, intriguing scenario with a head-swimmingly large ensemble cast.

It jolts along with humor, suspense, insight and a fair amount of oozing blood.

Such soft areas, and a feeling of forced quirkiness, keep Big C from being a Class A series. Still, it's a show that, like Cathy, almost certainly will find its footing as time goes on and, like terminal illness, undoubtedly will provide a few surprises before the end.

Yes, audiences should beware not to let their eyes roll too far back in their heads at the fantasy concept of a) swapping scholarships midsemester and b) a protagonist who wows everyone in sight (known as the "Mary Sue" character in fan fiction parlance). But once the concept is firmly established, Hellcats makes a graceful backflip, with multilayered characters that defy expectations.

With its large ensemble cast and frequent flashbacks--visiting and revisiting events that occurred from 23 minutes to 13 months in the past--watching Event is like riding a contraption that is half time machine and half bumper car.

It's definitely worth sampling, but impatient viewers might not return to the scene of the crimes.

There is hope that Better might turn into a solid series: the writing is smart and patient, and dialogue wed to Casey's good-guy dopiness lands well.

Despite some jitters, Conan looked comfortable in his new domain. He had nervous energy to spare, but then again he does most nights.

Glory Daze is both unexpectedly funny, at times heartwarming and the sheen of nostalgia covers up a lot of stuff you might otherwise get picky about.

Despite feeling like the concept owes quite a bit to the British series Gavin & Stacey, and a nagging suspicion that the evolution of one couple completely smitten and the other ready to spit on each other will take a long time to come around to four friends and two happy couples, that's not a problem if the jokes are funny. So far, so good.

Like The Biggest Loser, Shedding for the Wedding is ultimately feel-good reality that also aims to make its contestants feel better.

It does not--repeat, not--take a con to catch a con. That is by now a very tired television cliche and one that's embraced by Kings. But the series overcomes this crutch to become a mostly interesting diversion from going to work five days a week.

The fact is, these kinds of grand historical reimaginings can be a scrumptious combination of costume drama acting, soap opera theatrics and pay cable promiscuousness. That'll make the hours fly by. And it doesn't mean your pleasure needs to be all that guilty.

Fiennes gives Camelot some feistiness and playfulness, and the whole affair is boosted by the fiery Green, a bit part by James Purefoy, plus strong performances in the supporting cast (and yet more wonderful costumes by Joan Bergin, who worked her Emmy-winning magic on Tudors).

There's less of voyeuristic queasiness here than in those other shows [Hoarders and Intervention]. Anyway, who doesn't love rooting for the little gal (yes, the couponers are all female in the show's first two episodes) in a quest to outwit the corporate food industry?

The first few episodes don't always click (strangely, the Tami story line doesn't feel real), but even when the storytelling hits a rough patch, there's enough raw emotion and drama--on and off the field--that hits the right note, saving the hour.

It's quip-heavy, doesn't complicate things with too much plot, keeps the pacing brisk and litters the TV screen with beautiful people.

The vote here is to not only give Torchwood: Miracle Day a chance, but to ride out the bumpy parts and put some faith in Davies' unique take on storytelling.

The latest iteration of the genre of celebrity re-introduction--and one of its more amusing--is CBS' new show Same Name.

Mostly Against the Wall is a pleasant surprise, with Carpani being a much bigger surprise.

Although that dictum doesn't fill Whisker Wars with Deadliest Catch levels of dramatic tension, this detour into the world of competitive bearding is worth a gander or two.

A sassy piece of voyeuristic candy that explores the Russian immigrant community of Brighton Beach, N.Y.

Both Emerson and Caviezel are compelling and the way Nolan and Abrams have constructed the look (lots of nourish far-away shots in crowded streets, a sense of contained doom in an urban city) bodes well. That alone is worth the investment.

A solid if unspectacular story about one of the most unlucky lawyers ever depicted on television.

Viewers should try to connect with Touch. There's something intriguing about it.

You have a series that cobbles together a pretty strong rooting interest.

For people looking for the next Housewives, GCB could be the perfect replacement.

Early on, there's enough intrigue and style in Magic City to keep the viewer wanting more, but it's not as fully realized from the get-go as shows like Mad Men, Game of Thrones and Breaking Bad.

Maybe a solid Western-ish offering like Longmire will be good enough.

If you like Brand, you'll love BrandX, but you might be left wanting.

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.

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.

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

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.

The thematic through-line is there, but could have benefited from more focused exploration. Still, there's something to be said for letting the photographers tell their own unvarnished stories, which makes this intermittently powerful series a valuable addition to studies of war journalism.

Though there are millennia being covered, some may find the material oversimplified or oversanitized, but it's still an engaging and appealingly presented overview.

Crossfire Hurricane is business as usual from the Stones, and good fun on its own terms. However, anyone expecting buried treasure or fresh insights into ancient rock folklore will get no satisfaction here.

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.

It plays a little bit, in spirit, like the HBO series How to Make It In America. It is in that way that it feels both fresh and familiar--the scene is new, but the story is old. There's drama, but not as much trash.

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.

As questionable as the setup sounds, it actually strikes the right tone by neither making fun of nor blindly praising the competitors for their quirks (of which they have many).

The Face borrows plenty of concepts from other modeling and competition shows, but it manages to throw enough fashion and dramatic interest at viewers to be engaging.

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

The writing is sharp enough to create nearly as many solid laughs as there are producers. [21 Aug 1998]

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.

A word about the supporting cast: excellent. Holland Taylor is an expert at playing strong-willed, domineering women and shines as Evelyn, Charlie and Alan's mother. There are similarly strong contributions from Hinkle as Judith and from Melanie Lynskey as Rose, a nonthreatening stalker with a fixation on Charlie. [22 Sept 2003]

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

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.

While little here will be new to viewers with memories of the original events, it is all rehashed lucidly and may well prove eye-opening to younger viewers.

In its scripted segments, the series is stylishly produced, and its wit is dry while its tone is bubbly. Not every segment is a hit, but the ones that are deserve to be quoted, repeated and discussed.

At its best, the narration, delivered by Tom Selleck, is clear and unadorned, but it occasionally falls into purple patches of grandiloquence.... A heavy hand prevails in the music cues, too, which can be cutesy or  obvious. Such emphatic accompaniment, in music and prose, is unnecessary when the images are so potent.

Fortunately, "Bars" doesn't take itself or its subject too terribly seriously, allowing for the material's camp value to seep through.

This is sassy and superficial but also entertaining, and that's really all it aspires to be.

His guests are fun enough, but we've seen them aplenty, and there's nothing much revealed that we don't already know.

If anything, "In Justice" tries too hard.

A well-intentioned drama with a few comedic quirks but without depth or greater purpose.

Despite her position as editor, Emily lives in a world with high school values, where the ultimate achievements are being popular, fitting in, looking good and finding a hot date.

Simultaneously sexy and relatable, Elfman wins us over with a convincing performance that shows vulnerability just beneath a placid surface.

The sameness of the format detracted from the excitement inherent in any awards broadcast.

A cooking match that has been seen so many times before in one form or another.

It has potential.

Ironically, the differences among the characters that make the show interesting and even, at times, compelling, also test its credibility.

The B-list panel... doesn't measure up to the likes of erudite and quick-witted Henry Morgan or Bill Cullen. But they enjoy themselves, and their fun can be contagious at times.

It can be pleasant -- even charming at times -- but not much more than that.

[It] gets high marks for capturing the spirit and idealism of the staff but only passing grades for storytelling.

Despite the intense look at the legal process, the show moves quickly.

There are no deep belly laughs here but you can count on a steady stream of chuckles, more from the characters than the situations.

Thomas earns high marks for coming up with appealing characters who are as comfortable as old cardigans.

Maybe the best thing about this miniseries is the weird assortment of characters.

You get the feeling that if this show is given enough time to find its strengths and understand its characters, it could be around for quite some time.

There's more humiliation than comedy.

I didn't hate "Top Design" as much as I wanted to.

Mostly, it was a tasteful affair.

"Drive" is at once exasperating and mesmerizing, utterly ridiculous if you read too much into it but utterly beguiling on its face.

Murphy is adept at creating clever mind games between his characters, but moments of true suspense or fright are few and far between.

Despite some fine performances, it fails to show a connection.

The focus is on the dangerous and forbidden relationship between Mick and Beth and his efforts to keep his past a secret. Whether there's enough material there to knit together a series remains to be seen.

A terrific boon to those who can't wait a week between "Friday Night SmackDown!"

Fear is pretty much like most of these genre-specific anthologies: wildly inconsistent, sometimes maddeningly so. But when it hits, it blasts the ball out of the park. When it doesn't, well, at least you have the pools of blood to keep you company.

Softer than soft porn, Call Girl is as much a documentary about high-end prostitution as it is about the conflicts and foibles of those who engage in it.