Mostly boilerplate CBS procedural but at least the horses look great.

Funny idea that doesn’t quite attain the level of “funny show,” but a good cast along with a few good lines indicate this superhero sendup will eventually get there.

There's some charm here, but it's as fleeting as a tweet.

A by-the-book cop show without much bite or heft. But it's got Memphis and Lee.

The Son is mostly about a son with two fathers, one white, the other Comanche. He absorbs the soul, spirit and perspective of the latter. It’s a particularly interesting idea and character based on a celebrated book. Here’s hoping the miniseries lives up to the promise. Saturday’s opener suggests that it should.

Intelligent adaptation absent the dark humor, satire--or horror--of the original.

There's humor, there's heart, you'll laugh when you don't expect to.

It feels to me like CBS wanted a military heroism series, and the producers provided one, and here it is.

"Raines" is both thoroughly conventional and thoroughly unconventional; in fact, it often revels in its conventionality.

Cane" is not a bad show, and it's sporadically a good one. Merely, great expectations have not been met.

A 2+2=4 cop show with no surprises but plenty of Wolf touches.

The Last Tycoon is so sumptuous that it’s easy to overlook how pedestrian the story often is. That’s not immediately apparent because what’s onscreen is stunning.

As derivative as it is in many respects, "The Apprentice" could turn out to be one of the more interesting variations on the format. [4 Jan 2004]

100-proof, pure-grade, high-gloss, low-risk formula.

NBC's new Bionic Woman remake is a desolate slab of ice where any resemblance to human beings - alive, dead or cyborgian--is purely coincidental. It's hard to imagine a bigger modernized mess being made

The series does a competent job of setting mood and character--notably that anything is possible, the sky’s the limit drive of the early 20th century that animated great inventions, and consequently great fortunes.

Hardly quaint or entirely redundant, these three are at least good, and the third — written and directed by Oz Perkins — easily the best. But something's still missing and that was the bane of the first season too: Neither sharp-edged nor jagged, they don't stay with you, or haunt you, or vex you in some hard-to-define way.

Producers play this for laughs, though just slightly. (These are high school kids, after all.) Even so, the show's flat and almost stunningly uninformative.

Sure, it's a glossy, well-produced infomercial filled with powerful live performances, but it feels designed to make us want to buy more Beyoncé stuff.

Either clever idea or one-trick pony, the Son of Zorn pilot can’t entirely decide which it is either.

Lots of cartoon violence mixed with--irony alert--not enough intelligence.

Reminiscent of “Chico and the Man” (the mid-’70s NBC sitcom about a cranky garage owner and his Chicano employee), but it also aspires to a contemporary relevance--but manages only a weary crustiness.

The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.

Sweet, sad, nice, and a tad dull.

Lynch can be as goofy-delightful here as in the ensembles of “Party Down” and “Glee.” But she’s all over everything, all the time, in a show that just won’t let up.

Sometimes, you're not looking for great TV. Sometimes, you're looking for par-tay! And dudes paid "to mess with the zombie culture," while also acing the case, surely fits the bill.

Nice locales (Paris! Rome!), a couple of decent action sequences... but otherwise a tepid potboiler over-seasoned with too many spy tropes and a plot with too many gaping holes.

There's plenty of heart here--and some very sharp writing and acting, too.