Even Bravo has too much class for this four-hour misery. ... Holmes and Donahue share some affecting moments, but the miniseries has no imagination and re-creates tabloid snapshots.

The slight sitcom has all the heft of a powder puff.

Stalker is the kind of show that will have you checking the locks on your door--and changing­ your Facebook status to “guarded­ by rabid pitbulls.”

Everyone associated with this show--with the exception of MacFarlane--deserves better.

Primeval (which has already been renewed for a fifth season) doesn't ask you to think, just to enjoy the mayhem that follows when a rampaging behemoth is set loose anywhere in the United Kingdom. It's hard to find fault with a formula like that.

The mix of humor and horror is unparalleled, and the bonds of friendship between these supernatural denizens feel authentic.

Not even a return to Sin City - the site of the most notorious, debauched entry in the franchise - can jump-start any excitement into this, the 25th season of the unscripted series.

While it isn't as tacky as the MTV hit, it does wallow in uncomfortable moments in therapy and exposes people at their most vulnerable. These couples should have checked their love handles in private.

Red Faction: Origins is light-years brighter than the typical Syfy Saturday dreck.

Bucket & Skinner makes Saved by the Bell seem as sophisticated as "Modern Family." There are a few bones thrown parents' way to make the half-hour bearable.

Stepfather Todd reacts to news of the family's fifth car by reasoning that since they don't have enough parking spaces, the only solution is to buy a home. And we're off and running to the poor house. Again.

Reality TV has gotten rich off ethnic stereotypes--"Jersey Shore," anyone?--and now comes the generically titled Family Restaurant, about the Quon family, who run a thriving Chinese restaurant.

While the two play for the cameras, it feels forced. Tallman rolls his eyes so often, they just might tumble out and roll away like loose marbles. His off-the-cuff remarks about his customers won't help his business.

It's also clear that, with the show now starting its fifth season, the contestants have actually bothered to watch previous installments and have strategized. It may keep them in the game longer, but it makes for more predictable TV.

BBC America's Being Human (the original, not to be confused with the pallid Syfy remake) takes a stab at re-inventing itself--and magically pulls off the feat.

Moves is mostly a leaping-high bromance, with the guys checking each other's egos.

There's nothing in this hour that will persuade any rational person.

The casting directors have found edgier contestants (one admits he’s only there because he has a gambling problem). Host Dolph Lund­gren alternately rags on the contestants or riffs.

There doesn’t seem to be any trickery here, no video sleight-of-hand. Goodwin is upfront in his methods.

The cast is attractive, but nobody comes off well with material so cringe-worthy. [25 Nov 2011]

What emerges is scary, graphic, unnerving and not for those easily vexed by nightmares.

The 75-minute “super-sized” premiere might leave you feeling a bit bloated, but Top Chef is still a satisfying treat.

It’s a sporadically funny opening to an inconsistently comical season. A couple of episodes are slapstick hits--such as when the gang enlists Dee to spy on a Chinese fish factory. Others are just creepy. But it’s a mix that has fueled the sitcom’s success for nearly a decade.

Yes, this reality cooking show is like those that have come before it, but--at least in this episode--it stands out for what it doesn’t have. There’s no yelling and there’s no long bleeps to cover up cursing.

Red Road’s depiction of mental illness is one of the most compelling on any scripted series, and Nicholson continues to amaze.

[Jane] Buckingham is likable and, in a genre better known for its bombastic Chris Harrisons, presents good tips and doesn’t make the show all about her.

The second season of Direc­TV’s MMA fighter family saga Kingdom circles familiar territory, but the third episode is a knockout, with a swerve that could permanently divide this fractured family.

Ice doesn’t have pretensions of high art or maybe even good drama--but as a crime show that constantly keeps moving, Ice pops.

In this, the last 10 episodes, the drama detonates long-standing alliances and brings to the fore grudges with lethal consequences. ... The premiere Sunday features three set pieces that are brilliant and terrifying.

The challenges are right out of “Survivor” and MTV’s much missed “Road Rules”--so much so that loyal fans will be able to scream out the season, if not the episode. Some of the game rules seem arbitrary, even for the genre.

One of the smartest dumb shows, TBS’ Angie Tribeca, created by Mass. natives Steve and Nancy Carell, returns for a third season tomorrow night with the same silly sight gags, absurd jokes and a parade of guest stars coming out to play.

Return of the Mac looks like a pleasant family project, one they can look back on fondly. For the rest of us, it’s just a step up from watching someone else’s home movies.

World of Dance has stars, style and spunk. It’s also wildly over­produced and seems a bit out of step.

One problem with the new season is we have too few favorites left and not nearly enough time with them.

Judging from the first three episodes, the plan seems to be to throw enough explosions and gunfights at the screen so viewers are lulled into thinking they are watching some “Chicago: NCIS: Law & Order: Criminal Minds: Frontal Lobotomy” spinoff and forget to change the channel.

While the production values may be loose, Impulse’s entertainment value runs strong.

The humans in Animals are idiots. But the critters often have funny things to share about how we all need our packs to survive and thrive.

Mullally is this show’s greatest asset, and unlike her colleagues, knows how to finesse every joke for maximum effect without mugging to the back row.

The pacing shouldn’t work, yet it does. The private stories pull you in. This is a great cast playing.

There’s a method to this madness, and it cribs from Gillian Flynn’s (“Gone Girl”) stylebook in that you can’t trust anyone’s narrative. The accumulation of details leads to startling, horrific realizations.

Despite the schlocky space adventure, the series just might hook you because of its flawed protagonists.

Tacoma FD needs more than a spark to get going. It needs a tanker full of gasoline and a convenient bolt of lightning.

The dramedy digs deeper, tightening the connections between these seemingly random residents.

ABC’s “Reef Break” is everything that CBS’ “Hawaii Five-0” should be — breezy, bright, a wee bit sassy, a whole lot silly, the ideal summer show to catch as a nightcap before bed.