It changed the look of King’s lead vampire from a cultured villain to a ghoulish beast recalling Max Schreck’s makeup in “Nosferatu” (1922). [22 June 2013, p.E4]

The ingredients aren't always in proper proportion, yet enough of the magic works in this series to keep you under its spell, episode after episode. The acting styles can be all over the place as well, and still, due to the strong cast, it doesn't undo the spell.

Emphasizing action more than character, Babylon 5 is a show that's simply grittier, more exuberantly freewheeling and more fun [than "Star Trek: Deep Space Nine"]. [25 Jan 1994, p.9D]

Clueless pulls off the balancing act of being bright and sophisticated while remaining almost squeaky-clean. [20 Sept 1996, p.1E]

The good news is that Snowfall, the searing FX drama about the 1980s crack cocaine epidemic in Los Angeles, does start moving at dazzling speed after a slow, plodding start. The bad news is that this occurs somewhere about the fourth episode.

Although the pace is at times too deliberate and many of the story elements seem familiar (earning the dubious raised eyebrow Mr. Spock put to such good use), it’s not difficult getting to the end of this third episode. For one thing, the series looks terrific. For another, you’re in great company all the way. The cast is marvelous, starting with Stewart, the finest actor ever to wear a Starfleet uniform. His aging and conflicted Picard is an endlessly intriguing revival of the character. He not only keeps you involved but also (to borrow the captain’s trademark phrase) engaged.

"My Name Is Earl" is a good show that doesn't quite have the feel of being the next "Seinfeld" or "Cheers." But like Lee's Earl, Garcia's feel-good concept is strangely effective. If not brilliant, it is ambitious, and it is definitely funny.

While The Strain is pretty much a cauldron churning with familiar ingredients, the dark brew bubbling inside is served up with a great deal of panache.

It's familiar enough territory, to be sure, yet it's covered in lively fashion, thanks mostly to Katims' breezy script and the delightful comic chemistry between Walton and young Stockham.

Sharply paced, A Very English Scandal doesn't make the mistake of overstaying its welcome. The story is told in three tightly packaged installments that cover the endlessly curious ground efficiently and elegantly.

Even if you're bothered by the "oh-come-on" moments, you're more than compensated with the sheer number of "oh-wow" moments. They are in huge supply over the course of this opening four-hour run.

Serve up enough great moments (and The Normal Heart certainly does), and Ryan's occasional missteps are easily dismissed as mere annoyances, not major gaffes.

It's quite a good one. It boasts a brisk pace, strong direction by Rick Famuyiwa and a superb cast led by Kerry Washington as Hill and Wendell Pierce as Thomas.

It's a free-wheeling good time with a good heart and some good laughs.

And yet, given how derivative it is, (say it with me now), Humans turns out far better than you'd think possible. The performances, pacing and direction are that compellingly good, at least in the first two episodes made available to critics.

Simmons, as you might expect, is equally convincing as each Howard Silk, but he's only getting revved up for the many twists and turns taken in this 10-episode thrill ride. ... Still, no matter how convoluted things get, you keep coming back to the two Howards, and, because of Simmons, you want to.

While the political dynamics have changed greatly, House of Cards remains an addictive mixture of over-the-top soap opera, wicked dark comedy and sly melodrama.

'24' is back in top storytelling form, spinning an intricate new web of mystery and suspense. [29 Oct 2002]

While often great fun, the series' premiere occasionally shows the strain of trying to blend all of those genres into one sleek package. On the plus side of the Firefly universe, the show is expertly paced and is full of those wickedly humorous asides that fans of "Buffy" and its ever-improving spinoff, "Angel," expect from the mischievous Whedon. [20 Sept 2002, p.E1]

Might be the fall's funniest and most satisfying show. ... Smartly written and well cast, it sparkles with characters, situations and dialogue that owe more to real life than TV contrivances. [12 Sep 1996]

Yes, there are times when excess gets the better of this series. Pace occasionally becomes a problem, as we move from episode to episode that could be more tightly edited. Yet the sheer vitality of the performances keep us fully engaged.

Godless manages to come across as both familiar and fresh. Plot lines are recognizable without becoming trite. Characters are taken to predictable extremes without sliding into caricatures.

It starts at a dead run and never slackens its pace.

Worth watching? Oh yeah, particularly for the genius of Rush and Flynn. Despite the inconsistent nature of the dialogue, the series obviously has much to recommend it. It's superior, if not superlative.

Visually very different from the film, TV's Rocky Horror Picture Show also boasts superior choreography and wildly inventive costuming. It's a wonderfully dark castle packed with twisted delights.

While unquestionably a strange brew, No Tomorrow also is quite bewitching. It's fun falling under its spell.

Peyton List stars in this immediately riveting mix of police drama and time-bending fantasy.

As raw and raunchy as the comedy sometimes gets on Crashing, there's something incredibly endearing and downright sweet about this new HBO series. That something is the performance of the immensely likable Pete Holmes.