Lie to Me's pilot is brisk anthropological fun.

It's a promising comedy about a shallow man trying to make his life right, one bad deed at a time.

If The Good Wife can maintain the first episode's tone, it will keep an audience even after political sex scandals fade from the news.

What Prison Break lacks in plausibility--basically, everything--it makes up for in plotting, pacing and panache.

None of these [new sci-fi] series matches Lost's mix of character, wit and story, but the grim Invasion at least has the story part down, and keeps the horror at a nicely restrained simmer

Imperfect but chilling.... In the end, Sleeper Cell is every bit as nailbiting as 24, with one crucial difference: neither the terrorists nor the Feds are supergeniuses.

It's all delightfully phony, but will win your faith on charm and panache.

Good-hearted, eccentric and wry, Ride goes nowhere fast, but it has a fine time getting there.

The show's conversational improv rhythms and realistic, documentary style make Sons and Daughters worth adopting.

Deadpan and gorgeously shot, The Hills is an addictively watchable visit to the cool kids' table.

This loose, wry sitcom makes a crackling love connection.

It's highly entertaining.

It's worth hopping on this poetic, profane story of frontier money lust before it rides into the sunset.

It's a drama of chance with enough charm to roll the dice on.

Like its endearingly flawed protagonist, Ugly Betty is promising but not perfect.

Has the same quick-cut look, crisp dialogue and bone-crunching game scenes [ast the movie].

The tense pilot suggests the series has a few twists up its sleeve and a cast up to the challenge.

For all the show's cartooniness, its gender-conscious take on the TV business is actually more sophisticated [than Studio 60's].

While not perfect, [it] manages to be both exciting and--if not exactly realistic--then at least reality-grounded.

Drive is an audacious, exhilarating enough concept, and its pace and writing snappy enough, to make you want to believe.

So far, it's carried mostly on the scary-eyed charisma of Summer Glau as John's robo-protector. This grim Chronicles needs to put some flesh on its humans.

The writing is uniformly strong and Byrne excellent not only at reading Paul's dialogue but conveying what he's withholding--his true feelings about his patients, his inner turmoil over his disintegrating home life. But the storylines vary wildly from riveting to tedious.

Margulies vanquishes her ER heroine image, but bad dialogue and dull legal stories undermine her case.

A sharp if uneven Whitmanian sampler.

While it's not a great TV movie--it's basically a high-class Movie of the Week, a docudrama that dramatizes events you'll recall from the news at the time if you were following it--it's nonetheless a gripping recounting (ha!) of a Presidential drama that was pretty gripping at the time to begin with.

The band has a refreshing scruffiness but except for Joe gets too little screen time to leaven the formula slickness.

I'm interested but not engrossed, though it offers the potential for a change-up in the Dexter storyline.

The first couple of episodes, in which Hank tries to be monogamous with his ex, offer some promise, but for me the show is still works better for its pithy little scenes.