Thorne's performance occasionally threatens to rise above this mess. But it's tough to overcome a narrative opening line that goes like this: "My dad used to say life is like a football game. There's winners and there's losers."

Traffic Light is winning and amusing without being loud and loutish.

Hell on Wheels is a big and ambitious stab at the genre, with a lot going on and much to recommend.

The cast is engaging, the premise is intriguing and the genre long has been CBS' ratings-rich specialty.

For now, though, this is a series that's seemingly built on an arresting foundation.

Dexter likewise remains in solid shape, with new characters generating some additional heat while its namesake keeps plying his trade.

TNT's brighter, shinier Dallas makes an impressively staged re-entrance Wednesday night.

It's a lot to process, and at times too much to take. Still, Horror Story often is a wonder.

A Gifted Man won't kill any brain cells if you want to give it a try. But it's not all there yet with an unwieldy mix that also includes two life-threatening cases, a few scenes with Michael's frazzled sister, Christina (Julie Benz) and her problematic teen son and an attempted exorcism of sorts by a mystic named Anton (Pablo Schreiber).

Da Vinci’s Demons halfway succeeds on the strength of its vigorous, devil-may-care approach, even if it’s also almost thoroughly preposterous in terms of the central character’s deductive powers and abilities.

This is a genuinely scary and unsettling series.

666 Park Avenue doesn't entirely lack a pulse, but doesn't get the blood rushing either.

Its overall implausibility and everything-but-the-kitchen-sink plotting work against what little promise Banshee has.

The music has its moments and the comedy occasionally rattles home. Not nearly often enough to make it "Very Funny." But worth a few grins and maybe even a shimmy shake.

Entourage looks as though it still has enough juice--comedy, drama and Drama-wise--to make its last season a keeper.

The Inbetweeners seems to be experiencing the growing pains of its principal characters. A better start would have been preferable, but at least the show's weekly slings and arrows are pointing upward.

In the end, Phil Spector succeeds on the strength of its two marquee thespians. Mirren is wonderful throughout, Pacino scores in double figures and they have enough scenes together to make it all well worth your while.

For now, it's a disappointing polemic that mainly offends by being lazily or awkwardly executed more often than not.

The semi-dreaded but not altogether unwelcome "not terrible" tag is visited upon CBS' latest Monday night comedy entry.

Suits is made of somewhat sterner stuff than other USA originals. But it always gets down to how well the lead characters hold up. Once again, it looks as though we have a winner on a network that knows what it's all about while big brother NBC keeps stumbling on TV's main stage of actors and their roles.

Unfortunately, Bomb Girls is affixed with an oft-overwrought and at times just plain clunky script.

The World According to Dick Cheney instead is nuts-and-bolts bland and overly deferential.

Some interesting conversation does seep through, though, as part of what the host terms "the universal language of women."

[Sarah Shahi] plays this lead role with assurance and aplomb, elevating the entire enterprise in the process.

All in all it's a pretty deft mix of violence, pathos and ethos via a vampire, a werewolf and a ghost as roomies.

It’s terrific fun as well as involving drama.

Tuesday's premiere certainly has enough intrigue for starters. What it needs is more overall electricity.

The newcomer is unlikely to provoke much dinner table conversation, but goes down easily enough while trying not to leave any really bitter aftertastes.