The procedural element is smartly done, the stakes realistically high, and Atwell's chemistry with Cahill's D.A. compelling.

CSI: Cyber is perfectly serviceable television, with nothing distracting--David Caruso dramatically interrupting his own cheesy ripostes to don his sunglasses, say--to take you out of the story, but not a whole lot to keep you breathless for another.

If "Donnellys" wants a shot at doing better than "Studio 60" in its timeslot, it needs at least a hint of a larger-than-life figure.

The Player has the feel of one of those high-octane action thrillers that Hollywood pumps out--you get caught up in the moment, but the intricacies of the plot dissolve the second you step out of the theater.

The issue I have with the rape-by-orangutan scene in Unhitched is that it's not funny, nor does it even seem to be trying to be funny. It's lazy comedy, substituting shock value for wit and invention, and it typifies everything that follows on this lame excuse for a sitcom.

It's an hour of unpleasant yet bland people occasionally bumping into each other and saying racially provocative things.

Whatley’s quick conversion to the cause takes away what little tension there is in the partnership, and is emblematic of a larger problem. McGinn needs the people that she meets to buy into the idea of reincarnation, or else she can’t get anything done.

This show does nothing interesting with the premise, relying almost entirely, it seems, on the brand to break out.

They can sing, but not well enough to make you forget the sub-Lifetime made-for-TV-movie dialogue, whiplash plotting and utterly laughable dramatic moments.

The worst that can be said for Manhattan Love Story is that it's bland.

It is every organ transplant storyline you've ever seen before on "ER" or "Chicago Hope" or elsewhere, told in the most unimaginative fashion possible, acted out by a competent group of actors not given much to play.

It's not a bad show, but the mechanics of how they're going to abduct their latest target are far less engaging than how the team interacts with each other and how each member fights his or her compulsions.

If you're not expecting much, you'll come away satisfied. But compared to a good episode of "Family Guy" - or even a mediocre "Simpsons" episode - it's pretty thin gruel. [28 Apr 2005]

The disappointing new project from "Arrested Development" creator Mitchell Hurwitz is mainly a reminder of how much the "Arrested" cast--several of whom provide voice work here--added to that show.

Mercy isn't just derivative; it's stridently, obnoxiously derivative.

Painful, pointless, obnoxious... I would almost rather have The Jay Leno Show back.

What the obnoxious "Cashmere Mafia" and now the dull Lipstick Jungle suggest is that it's not as easy to recreate the "Sex and the City" phenomenon as assembling three or four attractive actresses of a certain age and pairing them with a name producer from the HBO show.

Who wants to watch a less funny, vaguely cuddlier House impersonator?

It's the first outright catastrophe of FX's post-"The Shield" era.

The larger problem may be whether there's enough material to cover an entire season.

Mental was produced on a relative shoestring by Fox Telecolombia, and there's a flatness not only to the sets (which look not unlike what you might see on a Univision show), but the dialogue and characterizations.

There’s nothing especially novel or insightful, let alone funny, about the show’s take on impending parenthood.

Basically, The Deep End is "Grey's Anatomy" with lawyers, and the execution is as cynical and flat as that premise sounds.

It looks cheap (even though CBS decided to scrap the entire original pilot and make a new one), the action sequences are rote, the dialogue is mostly generic, and the characters are all one-dimensional.

The show wallows in lowest common denominator jokes that more often than not don't land.

The show plays like bad imitation noir where the private eye can occasionally sink his teeth into the villain.

TThe writing is stilted, with every other sentence from Rourke's mouth a ready-made movie poster tagline.

Chestnut, a reliably charming presence on screens small and large, is by far the best the thing about this painfully conventional procedural that borrows aethestically from "Miami Vice."