The score ably amps up the foreboding, and the action sequences are gritty, scary and especially well-staged.

In this truncated season (only eight episodes as opposed to the usual 13), Wright remains outstanding. But “House” suffers from the same problem as HBO’s “Veep.” Both started as daring satires of the highest office in our land and both have been surpassed by our current reality in which every day brings a new tweet storm of chaos.

The auction segments are fascinating as buyers become locked in bidding wars and props sell for obscene figures. But the series could ultimately hurt Maddelena's business. The means by which he authenticates certain items, at least as presented here, is not convincing.

Why Not? With Shania Twain rings of a last-ditch effort to avoid counseling.

TLC’s editing, as expected, goes out of its way to make the family appear like idiots.... But the Thompsons don’t care what other people think. They’ve got each other. In that, they’re light-years better adjusted than just about any family on any other reality show.

Dying drops a killer set but doesn’t know how to close the room.

Key for any great sci-fi show, Incorporated’s creators, brothers Alex and David Pastor (“Carriers”), excel at filling in the details of their world.

Urban and Ealy are competent in their roles, damaged spirits destined to become brothers of a sort, not if, but only when.... While some viewers will be oblivious to the show’s racial politics, others will struggle to find a point. Somebody at Fox short-circuited.

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

There might be a good drama in Rake, but right now the jury is still out.

Series creator, director and writer David S. Goyer (scribe for Christopher Nolan’s “Dark Knight” trilogy) twists the already amazing life of the 15th century artist and inventor into something fantastical--but not altogether convincing.

A momentary lapse could lead to weeks of thought-provoking drama. The Slap echoes.

Ultimately, Fleming will leave you neither shaken nor stirred.

Basic cable is known for carving out niche audiences, but it's hard to imagine this "Friday Night Lights Shrink" will score with many.

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.

There's an undercurrent of desperation in this spinoff--the belief that a woman is only as good as her face and figure, and that there's always some pretty thing on her way up to take her place. These women know they are disposable. That's the ugly truth lining the sun-kissed streets of Beverly Hills.

As the hour proceeds, the tether to sanity--or at least common sense--frays.

When you title a show “Everything Sucks!” it can be viewed as an act of defiance or truth in advertising. Netflix’s new dramedy manages both in this sludge of teen angst.

Cynical shows can be fun; Deep State is undercut by some atrocious acting. One character seems to be the love child of Larry Hagman’s J.R. Ewing and about 180 pounds of ham. The faux Texas accent might cause your eyes to sting.

A familiar premise with fresh faces and equal doses of humor and pathos might be the right prescription for fans of the genre. [27 March 2005, p.039]

Killer feels lurid, thanks to creepy music and editing. That betrays and trivializes some serious issues. The narration could be more lifelike. Then again, it’s from a robot.

This hyper-violent crime soap from creator, executive producer, director and writer John Singleton is punctuated with some terrific performances fighting against predictable plot bumps.

The staging was clever and fun and the performances ranged from good to fantastic.

The good part involves just about any scene focusing on Angie Harmon ("Law & Order") as Boston homicide detective Jane Rizzoli. The flip side? Just about every scene that isn't centered on her, especially those involving Jane's best friend, medical examiner Maura Isles (Sasha Alexander).

Even though it’s been a heady year since the first thrilling installment and the season runs but eight episodes, something feels undercooked about this production.

The show needs more juice. Instead of skirting away, it needs to embrace the story that inspired it.

The first episode is confusing, introducing a multitude of characters and agendas. Stay with it. The second episode brings several of the characters and the conflicts into focus.

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