Although Collection Intervention is really no different than "Hoarders," putting a sci-fi/fantasy spin on it does make the show more relatable

As TV shows go, Toy Hunter is a bit dull.

It's a silly time-waster with terrible commentary by hosts Jamie Kennedy and Jessi Cruickshank.

In its first hour, at least, Major Crimes appears to be making a pretty seamless transition.

Hotel Hell is entertaining enough if you're not too picky about overproduced "reality" shows.

The show may not be comedy gold, but it generates enough laughs to make it worth checking out before hitting the sack Sunday night. But is it a keeper in the long run? We'll see.

It no longer feels like you're watching a dozen different TV shows now that the main characters actually interact with one another. And the show's pace seems more brisk, less stodgy.

It's a pretty good introduction but there's no guarantee future episodes will live up to that positive first impression.

Sullivan & Son is no instant TV classic, but its reinterpretation of a place where everyone knows your name is outrageous enough to bear watching.

While it's hard to imagine that the show won't continue if it's a hit, Sunday's premiere marks an inauspicious debut that ignores the sound advice given to all writers: show, don't tell.

Series creator Vince Gilligan wrote the first two episodes of this eight-episode batch, and they crackle, as always, with intelligence and an ever-lingering sense of dread.

The series improves slightly in a sketch that's filmed backstage where the improv comics are filmed from above sliding around on the floor on a set designed to make them look like they're standing upright.

The show is not so much awful as it is a colorless copy of better shows that have come before.

It remains to be seen whether the series will be capable of using the unquestionable talent of Ms. Sevigny and the rest of the cast to build a show that's compelling enough to convince viewers its worth tuning in on a weekly basis.

The result is not all that funny but more interesting than what most stand-up TV programs deliver.

Sheen's obvious, minimally funny new sitcom.

The series remains smart and thought-provoking but it's also quite funny.

It's more cheekily amusing than hilarious and full of comedy-of-the-uncomfortable moments.

A preposterous action-drama.

The relationship plots are less interesting to me than the comedy.

The Newsroom characters grow a bit over the show's first four episodes and begin to seem less like types and more like fully-defined people, but they never feel altogether real, the unintended consequence of inhabiting an idealistic fantasy land.

There's nothing wrong with TV Land trying to revive the old-school, multi-camera sitcom but the pilot for this show wouldn't have cut it in the 1980s.

There's a lot that's terrible about Bristol Palin: Life's a Tripp.... But this show adds additional layers of hypocrisy and silliness.

It's also similar to Fox's "Raising Hope," except that "Raising Hope" offers smart comedy and Baby Daddy is stuck in the realm of TGIF humor.

It's not deep, meaningful TV, but Falling Skies is OK summer entertainment for fans of breezy, things-blow-up-easy programming.

[A] silly, unnecessary reboot.

There's still some fun to be had watching True Blood but it offers more soap than satire or social commentary these days.

Bunheads feels like it's taking shape but hasn't coalesced in its first episode. But what it does get right is the introduction of characters from whom a lot of potential stories can flow.

As far as medical stories go, there's not much in Saving Hope viewers haven't seen before (and better) elsewhere, including on "Grey's Anatomy."

As with any pilot, Longmire barely scratches the surface of the possible directions it could go but the premiere does an excellent job establishing a sense of place and character. It's enough to make a viewer want to return for more.

Push Girls is at its best when the women tell their stories and depict the challenges they face in everyday life. But when the show's stars convene for gabfests, it feels as inauthentic as other docu-series.

Last summer Oxygen's The Glee Project proved a better TV show that Fox's "Glee" and it appears that may be more true in the show's second season.

When Hatfields & McCoys slows down enough to develop its characters -- and it's fairly rudimentary character development -- the miniseries comes to life.

Men at Work is mostly an unfunny, uninteresting look at four work buddies.

United Stats of History feels like it's a show that wants to be 30 minutes that's been stretched to fill an hour.

Most of the time Sherlock's cheeky sense of humor makes this version of the character a delight.

While it's fun to see what happens in Total Blackout once, it seems like it will grow old.

No one will confuse The L.A. Complex with "Mad Men" or "The Good Wife," but for the type of show it sets out to be, this Complex is surprisingly, well, complex.

The result is overly broad and narrow at the same time.

This fast-paced Titanic miniseries gets better as it goes along.

NYC 22 is very much a prototypical CBS show--it lacks ambition but it's not terrible.

Girls grew on me. As annoying as the characters can be, they also evince recognizable traits in absurdly realistic situations.

I don't care about the characters, their treasure hunts or how much they make or lose when they gamble that they'll find something of value in a locked storage unit [on "Storage Wars"]. And that's pretty much my reaction to Baggage Battles, too.

Don't Trust the B---- in Apt. 23 gets off to a strong comedic start with a quick-witted, fast-paced premiere episode.

Putting Jackie in rehab actually works out well comedically, too, because she's surrounded by a new batch of odd characters to bounce off.

While some aspects of the Magic City characters and their relationships are handled sloppily, others are too on the nose.

She's maybe-sorta a prostitute but the show's tone is light, frothy and downright sentimental when Riley gives emotional support to her male clients.

If only what's new about Scandal was supported by something better than blah writing, ludicrous situations and cardboard characters.

The single-camera comedy is not particularly memorable, but it could have been much worse.

Even a half-hour of these admittedly entertaining Q&As might get old but as a fan of Savage's writing (but not always his advice or views), I was pleasantly surprised that MTV found a way to keep Savage U entertaining throughout.

Once viewers accept it for the mediocre melodrama it is, they'll be more satisfied, tuning in for the strong performances and high production values while rolling their eyes at the umpteenth red herring and illogical plot turn.

GOT is easily television's most ambitious drama for expansive storytelling, but it doesn't shirk its duty to tell smaller stories about individual characters. That the series manages to excel at both is rewarding and breathtaking in its achievement.

It comes across as a low-rent operation making cheesy effects for the likes of "Hallow Pointe," not a big-budget effects house that works on movies you might have actually heard of.

Mostly the show, as these reality series are wont to do, follows the dysfunction within the family.

Bent is not a terrible show but it's not particularly good either.

Missing is like a bad Lifetime movie blown up into a weekly series.

Fashion Star remains a cool idea. But its execution and formatting need work.

Filled with pulse-pounding, thriller-style music, Game Change is a thoroughly engrossing film made all the more compelling by Ms. Moore's performance.

GCB offers surprisingly clever dialogue and winning comedic performances.

Generally they do their best to walk a fine line, attempting to execute the show in as uncomplicated a way as possible so less devoted viewers keep watching while rewarding obsessive fans with small steps forward in the exploration of Britten's condition.

It's a sensitive, one-hour portrait of three teens: one gay, one lesbian, one transgender.

The show conjures the most laughs when Mr. Gervais is on screen, but his presence doesn't mesh naturally with Warwick's world.

The River lacks the sophistication of "Lost" but its formula is more flexible than recent Fox addition "Alcatraz."

An entertaining drama that sucks you in and gets your toes tapping during several musical numbers.

Its hits outpace its misses--by a mile. That's not often the case with sketch comedy shows. Just as important, the humor is consistently smart.

Viewers who appreciate slow-moving stories set in gritty, somewhat sleazy environments with characters of questionable morals are most likely to be rewarded by betting on Luck.

Touch feels like yet another series--last week it was Alcatraz--that seemed like a better idea for a one-shot movie than a weekly TV series.

Although Friday's season premiere is a bit confusing at times, the Spartacus world comes into better focus in episode two.

There's no sophisticated humor in FX's Unsupervised, which plays like a less witty "Beavis and Butt-head."

Aside from "America's Next Top Model," The CW, now 6 years old, has not had much success creating and launching reality shows. Remodeled may not alter that disappointing track record, but it is more entertaining than some past efforts.

Other than re-living some of Napoleon's favorite catchphrases from the 2004 movie, there's not much enjoyment to be gleaned from this obvious, unfunny episode.

The pilot looks great, offers an intriguing plot and effortlessly introduces the show's characters and premise.

With a witty script by series creator Michelle Lovretta, Lost Girl mixes mystery-of-the-week plots and character stories with an overarching mythology in a way that's palatable for fans of serialized and procedural dramas.

The Finder is not sophisticated TV but it does have its charms, mostly stemming from star Geoff Stults.

The show is gleefully rude in keeping with Ms. Handler's personal style, but 8:30 p.m. seems way too early for explicit sex jokes.

This needs to evolve into a smarter, less formulaic show before it's worth watching.

Writer/series creator Julian Fellowes weaves together an engrossing tapestry of stories, although some of them stretch credulity or peter out.

House of Lies is not a revolutionary show, but it is a fun study of men behaving badly.

The Firm tries to marry case-of-the-week stories with a conspiracy plot. It doesn't succeed.

Angry Boys will certainly have some appeal to fans of offbeat comedy but it seems unlikely to become a mainstream hit.

Jane is a decent enough little show but it's difficult to imagine how its writers will manage to sustain the premise.

It's pretty awful.

A gripping tale of police investigation and a criminal's mischief-making.

Bag of Bones rarely scares but frequently induces unintentional giggles.

Everything in Neverland is a quest as characters run from one large set piece to another without much character development except in minor strokes that are predictable and rudimentary.

TV Land continues its foray into original scripted programming with The Exes, the network's best sitcom effort since "Hot in Cleveland."

There's exactly one funny moment in the dreadful Fox sitcom I Hate My Teenage Daughter.

All-American Muslim [may be] a bit dull for viewers conditioned to expect ginned-up drama but given the potential sensitivities of the subject matter, it seems appropriate.

Hell on Wheels is not a bad show, but it's also not engrossing.

Compared to so many other crime procedurals, Grimm offers a twist on the usual. It remains to be seen whether that twist will be superficial or substantive.

Maybe as an animated sketch on "Saturday Night Live," Allen Gregory would leave viewers eager for more. But in half-hour form, it's too much of the same.

Aggressively dumb, sex-obsessed and occasionally misogynistic.

In its pilot, Once Upon a Time succeeds on charm but comes up short on logic.

TV viewers who watch Boss probably won't be disappointed and even those who are wary of latching onto a new series have reason to give the show a chance.

The show creates tension--through atmosphere and characters the audience cares about--and offers so many make-you-jump scares that by the end of an episode, you're left breathless.

Like "Project Runway," there's creativity involved in this competition. And the fact that it's a competition, and therefore orchestrated and produced by necessity, makes it seem less fake-real.

It feels both orchestrated and dated, like a show whose time came and went around the same TV era that "Home Improvement" aired in.