Boardwalk Empire has everything you'd expect in an HBO drama--sharply drawn characters, large-scale stories intercut with intimate moments and a sense that you couldn't find something like it anywhere else on the guide. It's maybe the best new show HBO has launched in several years.

Justified is well-written and well-produced, so it would be good with any decent actor in its lead role. But the show got Timothy Olyphant for the role, and the match could not be any more perfect.

While there's a little something lost in translation, the show retains enough of the core of the original that--bolstered by strong performances from top to bottom--it's as good a remake as any import since "The Office."

It's extremely well cast, uses its Windy City locations beautifully and has an energy that grabs you pretty much from the first scene. Monday nights are really, really crowded, but you need to make room for this show.

It's stunningly rendered and very well-acted, and though the first few episodes have a tendency toward telling rather than showing, the pace rarely feels slack.

The ABC drama is one of the best new series to hit TV this fall.

The good news is that this contemplative, utterly engrossing and frequently gorgeous character study achieves and then surpasses both of those goals [justify the network's foray into the field while living up to the Sundance brand] over the course of its initial six episode season.

It's fun, but it's best in moderation.

It's a somewhat old-fashioned and pretty kick-ass hour of TV, with great action sequences in the first two episodes and, probably more important, well-turned performances by its three regulars: Mark Valley, Chi McBride and Jackie Earle Haley.

Its first two episodes do give the show a very strong foundation on which to build.

Through three episodes, there are enough funny, frustrating, sad and beautiful moments to make me hope Treme sticks around for a while.

Expect some equally strong language to reflect the harshness of the crimes, but enough charisma from the protagonists to keep the show from derailing into glorified grisliness.

With Covert Affairs, USA has added another slick and likable drama to its summer lineup.

Terriers is unlike any private detective series and it more than upholds FX's tradition of original programming with clever writing and solid acting.

For those who loved the original series, the theme song is intact, and the phrase "Book 'em, Danno" isn't used lightly. Other than that, this "Hawaii Five-0 2.0" is its own beast, slow-roasted in the ground until it's ready for crowd-pleasing perfection.

Both our and their [James Wolk's character's women's] affection is bound to star James Wolk, who takes what would be a relatively engaging series and turns it into something much more exciting with the charm he injects into every scene--regardless of which persona he's playing.

The location shooting and some very strong performances lift it above standard cop-show fare.

It's Kurtz and Mixon that really elevate Mike & Molly from most couple-centric comedies.

Undercovers [is]quite possibly one of the best meldings of the two sides of Abrams thus far: the action-adventure guy and the seriously modern romantic.

It's a great, gory and surprisingly emotional ride.

Like so many Showtime comedies, Jackie leaves us feeling a bit conflicted. But the acting, caustic characters and looming consequences make Season 3 destination viewing for anyone who's already hooked--and a worthwhile pursuit for anyone still on the fence.

There aren't a lot of hints as to whodunit by the end of the first three episodes, but the accumulation of these little things adds up to a very engrossing story.

It's up in the air as to how Wilfred will be perceived by viewers. The first three episodes are fantastic, but proudly off-color, like most of FX's comedy line-up.

It's definitely a flight worth booking.

It delivers laughs, for sure, but with a brainy, subversive and sometimes absurdist edge.

We're looking forward to the rest of the season to watch this finely drawn mystery unravel.

It's not exactly groundbreaking TV, but it's fun, sexy and filled with "Degrassi" alums--easy to watch and incredibly addictive.

Don't Trust the B---- in Apt 23 offers a new take on an old formula and it succeeds. It's weird, well cast and, most importantly, funny.

Veep is a show, though, that finds great comedy in the space between that idealism and the reality they face every day.

Four episodes in, and Girls is still packing tons of jaw-dropping, head-shaking, eyebrow-raising scenes into 30 minutes each Sunday night.

This heartwarming show just might become the sitcom success NBC so desperately needs.

The show has one of the most thrilling pilots of recent years, but there are a few growing pains in the subsequent two episodes as the show sorts out the weight it gives stories involving the sub's crew, the locals on the tropical island they commandeer and the people back home who have connections to the sub.

If you're hoping for a slow-building romance, a relatable lead character, and a sweet follow-up to lighthearted lead-in "Hart of Dixie," you're in the right place.

It all works. Although Ripper Street does move at the slow pace characteristic of most British dramas, every scene and every line has meaning.

For all the excitement of the missions and the tension with the FBI neighbor, what really carries the show is the relationship between Philip and Elizabeth.

Spacey clearly loves portraying the wonderfully manipulative Frank Underwood, while Wright does a very convincing take on Lady Macbeth.

Eventually, the series makes way for just enough plot to give our poor, overstimulated eyes a rest. There's a bit of political maneuvering, fierce rivalries, the examination of slavery vs. free will, ludus-yard hazing and even romance.

Will it mete out enough answers to keep viewers tuning in? And can it sustain the mystery all season? We're dubious, but we're already engaged enough that we'll give the show a chance.

What is there in the premiere of Blue Bloods is the aforementioned cast, which also includes Will Estes ("Reunion," "American Dreams") and Len Cariou ("Damages"), and some sharply written and acted scenes between the family members. Those more than make up for a pretty standard-issue case in the premiere.

Chiklis ("The Shield," "Fantastic Four") and Benz ("Dexter") are appealing leads, and "No Ordinary Family" will most likely rise and fall on their backs.

Three good lead performances (including one from "Friends" star Matt LeBlanc) and enough sharp writing about both show business and relationships give the show a comedic bite that makes up for the stuff you've seen before.

We think if you are a fan of this franchise, then "Suspect Behavior" should please you.

Anxious fans should be pleased, and curious viewers outside the usual demographic might even be surprised.

The Playboy Club is fun fare. The show could really take off if it chooses to not only be fun, but also explore the various frontiers the 1960s backdrop provides.

Overall, it's a strong first episode and we will definitely keep watching.

Terra Nova is another vehicle for a familiar story. It's one we're happy to watch, just maybe not with the fervor FOX is hoping for.

The viewer are asked to digest a lot, but we're willing to bear with it and see if the subsequent episodes can strike the same supernatural-but-not-super-goofy note, retain the production values and keep us interested.

If horror is your thing, you should definitely check it out for a few episodes and decide for yourself.

For now, we find it a solid, entertaining spook-fest.

The new Dallas isn't a game-changer, but it's a solidly built, easy-to-take soap that does right by its predecessor.

Through its first three episodes, The Carrie Diaries works quite well as a coming-of-age story, thanks in no small part to Robb's winning performance and a pretty solid cast of young actors around her.

It takes awhile to get into the investigation launched by Jeff and Skye. At the same time, the fictional "Cult" TV show seems more compelling than the real Cult TV show we're watching.

While we don't have the same rush of affection as we did when we first discovered "Downton," we found Mr. Selfridge entertaining.

The beginnings of answers do appear by the end of the episode, and they are definitely compelling enough to encourage continued viewing.

It feels like a happy medium between "The New Normal" and "Everybody Loves Raymond," but it manages to feel comfortably familiar as opposed to stale and overdone, largely due to the extremely talented, relatable cast.

It's anchored by several great performances, and it's among the more distinctive and gorgeously filmed shows on the air right now.... What did turn me off a bit in the first couple episodes of Hannibal was the victims were all young women.

While the first two episodes of "Da Vinci" are overly convoluted, the action moves at such a rapid pace and unfolds with such giddy enthusiasm that it's easy to just sit back and enjoy the ride.

Is it must-see TV? Perhaps not, but it's a lively and light addition to The CW lineup and pairs well with the unabashed silliness of "America's Next Top Model."

Like several new shows this season, the ABC comedy is neither cover-your-eyes bad nor set-the-DVR-season-pass good. It just sort of is what it is, which is occasionally cute and amusing--thanks mostly to a cast of comedy veterans--but largely forgettable.

While the show is clearly still finding its footing, there looks to be enough raw material there to make Perfect Couples, if not an instantly vital cog in NBC's Thursday comedy lineup, at least a reason to stay put between "Community" and "The Office."

Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.

Mad Love is not a bad show, but, judging from its first outing, it's not immediately deserving of the caliber of actors it managed to secure for its primary quartet.

The show is no better or worse than "Perfect Couples," "Mad Love" or "Traffic Light." Which is to say it's populated with likable actors and rarely out-and-out bad, but it's also never much more than mildly amusing.

The pilot was extremely plot-heavy, so we've got our fingers crossed that future episodes will tone down the action and dig deeper into the characters.

While there's definite potential in the show, there were a few things about it that just didn't work.

There are parts of Hart of Dixie that need addressing. The pace lags at certain points. And some of the characters, sometimes even Bilson, are more like caricatures.

No other new show this fall is attempting to tell a bigger story, and we're hoping the rough patches smooth out and it fulfills the potential that's there in its very strong cast and premise.

At the end of the day, Hell on Wheels is beautifully-filmed project that offers exceptional attention to detail on everything but the main character.

There's enough in the premise and the performances (particularly those of Garcia and Neill) to keep us watching, but to really hook us in Alcatraz needs to decide what kind of show it wants to be.

A cool premise can only take a show so far, and there's some work to do on the character front to make the show worthy of using all available technology not to miss.

The pilot shows promise, especially seeing the chemistry between (at least three of) the leads, but Episode 2 treads no new sitcom ground.

Where the show stumbles a little is in the case itself.

It's too cringe-worthy for overempathizing animal lovers, but general audiences might tune in for lighthearted, escapist fun.

The multicamera, laughtrack sitcom is completely unoriginal, the jokes are recycled and many of the characters--especially Reba's obnoxious teenage son and daughter--are underdeveloped stereotype. Still, the charismatic country star and Tomlin's droll Lillie Mae, who successfully balances her sharp tongue with surprising softness, are entertaining.

The writers of Community have done a good job with what they were given. The problem is, they needed Dan Harmon.

Visnjic's smooth and mysterious turn in just a handful of scenes instantly emerges as the best thing Red Widow has going for it. That's either the sign of a series with fundamental flaws, or the roots of a show that will only get better as it goes.

But when a show reaches the level that Nurse Jackie did in Season 4, reverting to cruise control isn't enough--and Jackie is just coasting through its new run.

Action will only take the show so far, but eventually viewers need to care about the characters or they don't have a reason to keep watching and Chase turns into a show that gets watched as an afterthought, not as appointment viewing.

OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.

Once you get past the idea that the bad guys are working for the good guys, it's a pretty by-the-numbers crime show.

NBC is clearly aiming for a network companion to their successful "Top Chef" franchise here, but while the aesthetics and the challenges are decidedly Bravo-esque, the personalities don't ever come close.

It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.

It's a show I would really like to like, and there are elements present in the pilot that make me want to see how it's doing by, say, episode four or five, but it's not there yet.

It's a fairly standard crime procedural whose hook doesn't really add much--and actually seems like it could be an obstacle further down the road.

The characters aren't terribly deep and the dialog doesn't take advantage of Emerson's and Caviezel's acting chops.

The biggest downfall of Enlightened is doesn't know what it wants to be. It's in no-man's land between a comedy, a drama and a satire.

It still carries a decidedly throwback vibe, and the ongoing bluster about the state of manhood in the world feels, at best, two steps behind the times.

Lucas is actually quite good as Mitch, as is Molly Parker as his wife, Abby. The issue lies more with the mechanics of the plot.

The second half of the pilot improves over the first. So there's progress.

The show is pretty much a by-the-numbers cop show.

The show feels like it should be better.

The cast is good enough and the premise strong enough to carry it. Right now, though, Deception is a show that doesn't know what it is.

Anyone looking for soapy twists and turns, shocking violence and a fast-paced ride will get what they want from creator Kevin Williamson and crew, just don't expect the show to dig deep into its characters or give you much to think about in the process.

Not all the cases turn out badly, but enough do that the show takes on a rather grim formula.... That's a lot of talent to work with and the good news is that Monday Mornings shows signs of finding its voice by episode three.

Despite being populated with likable actors giving mostly solid performances, it's hard to escape the feeling that you've seen this before.

Well, let's hope the show gets better after the pilot episode.

From shows like "Alias" to "Buffy the Vampire Slayer" to "Nikita," it has become commonplace to see hot chicks action stars. So a "Charlie's Angels" reboot has to offer something else in order to work. And it doesn't.

Instead of an entertaining half-hour to ease our wait for the return of "30 Rock," the network has given us another "Outsourced."