Count on Hit & Miss to find its targets.

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.

For its own good, Legion needs to get out of its head.

This nebulous look at the blurry line between crime and the law is already being done better on FX's "The Shield." That series...is instantly more approachable and arresting. In The Wire, the characters' hazy morality is so ill-defined and sketchy that it's hard to care about them. West is a compelling lead, but his purpose and motivation aren't clear. He's a tough sell as the show's main protagonist. [1 June 2002, p.23]

It’s bloody, grim, as overtly sexual as a commercial broadcast network can be, occasionally engrossing and only tangentially related to any serious inquiry into Christianity.

While I share Aziz Ansari’s appreciation for the people, the food and the sights, I really hope he and Netflix got a nice tax break for the first two highly skippable episodes of his otherwise enjoyable comedy series Master of None. ... Ansari proves his show is best when it tells a little story about a large idea.

The Catch wants you to hope for the best, but he’s such a sociopath, it’s hard to root for their relationship to end anywhere but in a lifetime sentence behind bars. Still, Enos is terrific and makes this caper a fun ride toward righteous retribution.

The fifth and final season of BBC America’s Orphan Black finds Emmy winner Tatiana Maslany turning in some of her most subtle, authentic work. ... The mythology of the show, like many of these genre shows (“Lost,” “Alias”), can be more convoluted than the tax code.

Garlin and McLendon-­Covey are believable as variations of “That ’70s Show’s” parents, and Gentile’s Jan Brady-style meltdowns are amusing. But Adam’s obsession with female breasts, encouraged by his grandfather “Pops” (George Segal), is creepy, considering the actor looks about 9.

The show is often so gross, one is tempted to suggest that our local arts schools should start steering its graduates toward more meaningful fields--such as automotive mechanics or doggy waste disposal. But Blue is also frequently funny in a raunchy “American Pie” way.

There’s nothing wrong with whipping up some comfort food, of course, but Murder might leave you hungry for something more challenging an hour later.

Too often “Project Blue Book’s” approach makes “Dora the Explorer” look like a work of subtlety. Government coverup? Check. Conspiracy? Sure. Shadowy men wearing fedoras? Why not? The truth may be out there, but is it here? With a series like this, it’s best to indulge your own inner Scully.

All gathers a charismatic cast, even if some look like they belong in high school about as much as I do. Logan is especially strong as a young woman searching for her own redemption. But having established some prickly relationships in its first two outings, All fumbles some story continuity in its third episode (airing Oct. 24) with a seeming revision in the fractured friendship between Olivia and Leila.

[An] uneven cross between “The Office” and “30 Rock.”

Aquarius’ problem is that it doesn’t want to tell a single story from the Summer of Love, it wants to tell every story from that summer, so you get heavy-­handed displays of institutional sexism and racism, drug use, the rise of black activism, the generation gap, the Vietnam War and some marriage melodrama to boot.

Despite some shaky attempts to build a convincing world, The Rain has much in common with “The Walking Dead.”

Starz's Spartacus - Gods of the Arena is endlessly creative when it comes to all things stabby. It seems to have a bottomless bucket of fake blood in its production budget.

The settings never seem authentic for the Big Apple, and accents veer like partygoers after last call.... Still, Maslany shows skill in her many alternate guises, and the show has a dark sense of humor.

Occasionally bogged down by hokey dialogue, the drama is ultimately redeemed by a veneer of hope and some wonderful performances, notably Jeffrey Tambor as Travis' cynical bookmaker father and Labine as his follicle-challenged best friend.

Their escapist capers make for pretty but mindless TV. [5 Oct 2003, p.47]

Watching "Ellie" becomes an ordeal in watching the clock. You see your life ticking away, wasting time watching "Ellie." [26 Feb 2002]

"Soul Food" the series differs from the film in that it replaces romance with nudity and sex. The actors were good and the premiere episode was believable, but let's leave something to the imagination. [26 Jun 2000]

The first episode spends much of the time establishing the series, and it's not particularly edge-of-the-seat scary. But the paranormal special effects are good and the acting holds up. How the action unfolds is questionable - the constant touching, gasping and seeing visions could get old. [16 June 2002, p.A07]

Right now, the best advice for Nia and her new husband is to move far away from her family. Far, far away. [25 Feb 2003, p.46]

Young viewers disappointed at ABC's soggy sitcom version of the movie "Clueless" will find in Sabrina an appealingly fresh, funny show that delivers plenty of laughs. [27 Sept 1996, p.42]

Tremors could go somewhere. It's an appealing setup, with some resonance in Old West-style independence and eco-tourism. [27 Mar 2003, p.61]

A mind-boggling drama doesn't always make for compelling television. [12 Sep 2003]

Man in an Orange Shirt aspires to be a both a romantic tearjerker and a heartfelt family drama. It doesn’t quite succeed on either point, but it has merit nonetheless.