You think you know how this story will end, but trust DeKnight and his company of players to surprise us to the last bloody moment.

The overarching premise of the 15-episode season cracks and crumbles under the slightest scrutiny.

Williamson has crafted a pilot tense and frightening. But in the subsequent three episodes, The Following deteriorates into a serialized version of CBS' "Criminal Minds." ... After four episodes, this viewer was weary of seeing women terrorized.

Legit is the sort of comedy that lets its heart beat once an episode.

There hasn't been a show since "The Sopranos" so concerned with bodily functions, and it makes its oft-compared predecessor "Sex and the City" look like a TeenNick production. But it's also fresh, bracing and original.

A slow-pokey drama punctuated by shocking violence and sex.

There's not much new to see in this neighborhood, but the producers have done a superb job of scoring the series with fresh music.

Vivian's secrets are predictable. Judging from the first two episodes, Joanna is not much of a sleuth. Scene set-ups go nowhere. Minor characters are brought in, disposed of, and the show bumps along to another complication.

Plotting is not Fellowes' strength, but Downton's appeal is visual.

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

Your enjoyment of the show will hinge on how much you can stomach the antics of the First Screw-Up.

There's more truth in 10 minutes of Animal Planet's "Finding Bigfoot."

The background music works muscularly to pump up interest, but the story's pacing is ponderous.

It's a shame--but not a surprise, perhaps--that directors Fenton Bailey and Randy Barbato don't delve deeper.

The players seem to spend much of their time entering and exiting the same drab offices while shoveling exposition at one other.

Calling this a train wreck makes the movie sound more fascinating than it is.

Mankind: The Story of All of Us is that college freshman survey course, a buffet of tasty data, a little bit about a lot. It might leave you hungry for more.

Seal Team Six won't sway undecided voters; it also won't entertain many, either.

The series is so funny, it reeks of a setup.

Wedding Band is frequently vulgar, and few punch lines can be quoted here, but it has such affection for all its characters that you might be troubled that you can't return the love.

Reba's smile can warm almost anything. But it's not worth sitting through this recycled sitcom for it.

The show's repetitive voice-overs are annoying. But you'll be sucked into this dangerous venture.

Those who worry about the teenager's well-being will find little comfort in this series.

The Girl ensures you'll never watch "The Birds" the same way again.

While often touching, it's a lightweight addition to HBO's schedule.

The first episode teases an exciting dynamic, with the possibility of forcing viewers to root for one monster over another.

Finally you get the sense that Meryl Streep's daughter is coming into her own as an actress and even a lead. But Emily needs a script doc, stat.

Dead is always at its most unsettling--and poignant--when its characters have a moment to breathe and to address their dark, nightmarish world.

The true horror here is the utter lack of imagination.

It's a bad omen when the show repeats one of its catastrophes next week, just amped to a grislier level. I was bored.

Arrow has so much going for it, it doesn't need to linger on the past.

Nashville is the snarky showbiz drama NBC's "Smash" can only dream of becoming.

At times, the show careens from black humor to near tragedy and then back again.

There's pleasure in seeing such talented actresses bounce off each other. Woodard could probably recite Google search links and would still turn in an Emmy-caliber performance. But these flowers never fully bloom.

The party may be winding down, the taps are running dry, but stupidity lasts forever.

There are elements of the "Friday the 13th: The Series" and any J-horror film here, but the frights are few.

If the first two episodes are any indication, this season of Homeland will be about Carrie not only recovering her balance but finding a measure of redemption. That's a trip worth taking.

It's more closely a cross between "My Cousin Vinny" and "The Good Wife," with Janet Montgomery ("Entourage") a dull stand-in for Oscar winner Marisa Tomei.

Elementary turns the myth into CBS' answer to "Castle," with a shade more intelligence.

To be fair, Last Resort does not insult ideology--it merely knocks your intelligence.

The Neighbors is the silliest show you will watch all year.

While the premise is slight, smart casting gives Ben and Kate a comedic edge.

Despite their [Mindy Kaling and B.J. Novak's] experience, the show plays like a blind date gone bad.

Unlike other period dramas, notably AMC's "Mad Men" and Starz's "Magic City," Vegas doesn't cram the hour with topical references. Here, they're more subtle and jarring.

The problem with Partners, as you'll discover if you watch the first two episodes, is that they already made that show years ago and it was called "Will & Grace."

The ninth and final season premiere of NBC's The Office definitively answers a few key questions about the cogs at the middling paper company Dunder Mifflin--if anyone out there is still interested in the once smart, now just silly sitcom.

It's never a good sign when the main character is the least interesting player on the block. Fortunately, Empire's cast is rich enough for you to overlook that flaw.

The pilot, directed by co--executive producer Jon Favreau ("Iron Man"), poses numerous questions, and to the credit of everyone involved, delivers some surprising payoffs that other shows would hold for weeks, if not seasons.

This show almost works, and credit has to go to star Jordana Spiro ("My Boys"), who imbues her Dr. Grace Devlin with equal parts brass and cleverness.

[The] premiere serves as a rocky reboot to the once robust hit.

There are some adorable tots mugging hard on NBC's Guy with Kids. The adults muck it all up.

You'll worry the Big Apple will swallow them up. Mostly, you'll wonder how Breaking Amish will turn next.

Go beyond the in-your-face, outrageous title here, and you'll find a somewhat sweet show struggling to create some real laughs.

Once the story finds its pulse, Coma is fun, but there are a few hiccups.

Copper spins somber stories of gold.

Week is about as much a serious social experiment as "Survivor" or "Kid Nation," but the production qualities are strong for a cable reality show and its subjects are fascinating as they react to the new world order

While Boss has delusions of Shakespeare, it's not even in the same league as the TNT revival of "Dallas."

How you view it will depend on what you consider the proper care of collectibles and the corruption of a minor.

NBC's Animal Practice is a lot like ABC's "Grey's Anatomy," except it's furrier and it's a lot less funny.

The first two cases, involving a gang of murderous thieves and the death of a personal trainer, are ho-hum. McDonnell, a fine actress, finally has a chance to inject some dry wit into her stoic investigator.

Despite all of TLC's crafty maneuvering, this is a family that likes to laugh with each other. The rest doesn't seem to matter.

Perry proves to be adept at both the mirth and misery required by the role. Viewers, however, may be put off by a series that seems stuck like its patients in a gray zone between laughing and mourning.

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

Photographer and filmmaker Timothy Greenfield-Sanders accessorizes his picture with some vintage clips, but his Face could do with fewer mouths.

The search for love has never seemed more like a lost cause.

Anyone really thirsty for laughs will probably come up dry.

After some demented inspiration from Jesse (Aaron Paul), Walt launches a caper so audacious, it's almost comical.

It's not a Comedy Central spoof, but it skews ridiculously close to one.

Her Patty knows how to spread the hurt. Get in on Damages' final round.

Count on Hit & Miss to find its targets.

Perception is a head trip not worth the journey.

Web Therapy is far more entertaining [than Episodes], but, alas, wildly uneven, probably in part due to the need to weave new material around the Internet series of the same name that spawned it.

Of the two series [Web Therapy and Episodes], Episodes is the most consistent and polished. It's also the one show that finds a groove and is happy to patter around its middling course.

It wants you to believe that Sheen is playing the most sane, vulnerable man in the world, yet he still comes off like a creep.

Aaron Sorkin can write crackling dialogue. Believable characters, not so much.

The unscripted answer to "Laverne & Shirley" will now be tamer than "Anne of Green Gables."

Fox's "Raising Hope" manages to be both more outrageous and realistic than this flimsy, forgettable time-waster.

Controversy aside, Life seems to have no meaning beyond giving the 21-year-old a platform for her parenting views and criticism of Los Angeles.

Unlike the similarly post-apocalyptic "Walking Dead," there's never much tension on Falling Skies.

Cynthia Cidre's smart take on the prime-time soap (1978-1991) pays homage to the past while moving the battle to the next generation.

Bunheads has the potential to have that cross-generational appeal. To thrive, the series must find its own tune to dance to.

[Smallville's Erica Durance, Stargate SG-1's Michael Shanks and The Vampire Diaries' Daniel Gillies] should be a winning cast, but the writing and plodding execution are worthy of a quick DNR order.

Longmire isn't a conventional show. The mystery tonight might be slight, but the pilot is a dusty little gem.

What separates this cast from just about every other real-ity show is that these people are chasing something larger than themselves, more vital to them than fame or money--that brief moment of perfection onstage, achieved after years of study and practice.

Director Philip Kaufman's clumsy, bloated project--clocking in at a miserable two hours and 40 minutes--stars Clive Owen and Nicole Kidman in potentially career-mangling performances.

Nobody here is as self-obsessed as the least Kardashian, which will come as a relief to the celebrity-jaded, but we all know where the real talent lies in this family, and he's not onscreen enough to justify this series.

In its personal vignettes, Weight illuminates, but too often the segments are a numbing array of statistics from well-meaning talking heads.

The bromance is over before it starts.

Ultimately, Sherlock doesn't play fair, but the game is so enjoyable, you'll be happy you joined in.

Louis-Dreyfus won Emmys for both "Seinfeld" and "The New Adventures of Old Chrstine," and seems the best candidate to win another for her work here.

Alas, most of the other characters are so weakly sketched, they don't make a ripple.

TV this dull should be outlawed.

Many young women, if they're being honest, will see themselves here. And many parents will see their daughters.

Contrary to the title, you can trust the B---- for a good laugh.

Rest assured: The Borgias are still bad to the bone.

Like the look of the ladies, the show is gorgeous, but it needs to reveal some substance.

On "Grey's Anatomy," particularly in the first two years, Rhimes proved herself skilled at crafting gripping love stories. She's outdone herself here.