Oddly amusing and amusingly odd.

A great concept, mostly divorced from reality, with superb execution, just might extend forever.

Silly, but let's take the glass half-full approach. There's nowhere to go but up.

Too brittle and full of bile to cleanly hit the target.

Much grimmer, grayer and (gasp) dowdier. Still mostly wonderful.

A couple of the lines are surprisingly offensive, and a couple others even surprisingly amusing.

An amusing and not-bad game show; Bailey makes it bearable.

Method makes a solid case for Lewis as underappreciated auteur.

Sure, there are some fun moments. Sure Brosnan looks mah-velous. He always does. But a little less plodding plot and a lot more action, please.

The story has been told many times before, and is told competently--if not always with dazzling or unexpected insight--again Wednesday.

You can see Neverland as sly philosophical discourse, or you can see it as fantastically produced adventure. Just make sure you see it.

It all adds up to one solid nail-biter, with a profusion of clever clues that seems to cast suspicion on everyone.

This feels more like a rushed afterthought by Fox instead of a fully developed premise that could carry a pair of seasoned actors to their retirement, or at least to a big payday.

Familiar doesn't mean bad, and there's some likable charm here.

What's fascinating is just how ruthlessly it has been edited, or (more likely) re-edited since the breakup to turn you-know-who into Little Ms. Perfect.

Noble intentions meet nice people.

Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.

Solid cast, intriguing premise, and--best of all--the Old West. Should easily be another winner for AMC.

OK, caution dispensed, tonight's episode is a good start. But wait till the baby comes.

A big fat wink to fans. The fifth season looks like a winner.

Grimm has real promise if NBC has real patience.

So pleased with itself, it doesn't seem concerned about pleasing us.

Like opening a time capsule. The boys remain the same. At least their snark has been updated for contemporary targets.

Robbins means business, calmly prodding family members--and not just the apparent aggressors--to truly comprehend where others are coming from. She calls people on their bull, eliciting not just tears from stress but tears of realization.

What's best about Time is its ambition; it glows with a near-theatrical shine, challenging viewers to think about TV drama as something other than boilerplate.

The Gus Vant Sant-directed pilot of what is easily the most important project in Starz history pulses with the sort of corruption that absolute power sires.

Hoggers is more down-market than Beers' crab fishermen and ice road truckers.

There's a smoldering ember of promise here, mainly in the cast, even if the pilot tended to smother it.