Elementary entertains intermittently, particularly in exchanges between Holmes and Watson, but its draw will be strongest among viewers who can't get enough crime dramas in their TV diet.

The new American version moves a little faster, which may sacrifice some of the subtlety of the original, but overall this first episode is a faithful adaptation.

In such rare instances [in the second episode], Breaking Bad achieves a perfect moment of nerdy believability, but too often the series fails to provide details that would help explain its characters' illogical choices.

There are a fair number of leaps of logic in the light-hearted Torchwood and mysteries abound. The special effects are generally decent and the writing and characterizations leaps and bounds better than in "Flash Gordon," "Eureka" or "The Dresden Files," to name just a few pathetic contemporary sci-fi shows.

Like "30 Rock," "Barker" is more absurd and goofy than it is broadly funny, but it's definitely not as mainstream.

Its frequent, gleeful skewering of NBC is just icing on the cake--and tonight's episode has a lot of icing.

Although The Beat rises above much of what's on TV - and everything else on UPN - it is nowhere near as complex and layered as "Homicide." But it may be just as off-putting to some viewers.

It’s not a revolutionary show but at a certain level it is a step away from the angst and a return to the positive, uplifting feelings evoked by the 1978 Christopher Reeve “Superman” movie.

The Act sags a bit near the middle of five episodes made available for review--perhaps fewer episodes would have made for a tighter run--but Ms. Arquette’s nuanced performance remains top-notch, and Ms. King proves a talented newcomer with a bright acting future.

While there are still some improbable elements--would the nephew of the killer, Olly Stevens (Jonathan Bailey), really still be allowed to cover a relative's trial?--Broadchurch remains a tense, engrossing drama.

Arthur & George benefits from a quicker pace than the average period mystery, and a charming performance by Mr. Clunes.

There's nothing particularly new about a superhero show, but Arrow exhibits a stylized ferocity that, in its initial hour at least, makes a positive enough impression.

Orphan Black begins with a solid, well-constructed, one-hour pilot that breezily introduces the characters and the show's conceit. It does allow some questions to linger, but it won't leave viewers scratching their heads in confusion, an important distinction and a balance not all genre shows are capable of getting right.

There's a casual, informal, willing-to-take-chances tone to The Writers' Room, which works most of the time but in the second episode, devoted to NBC's "Parks & Recreation", the show suffers from too many people trying to be funny.

While the show doesn't have the cachet of, say, Marc Maron's series, it's a funny, entertaining comedy starring the offbeat comedy-folk duo of Riki Lindhome and Kate Micucci.

For fans of "Smash" who miss that behind-the-scenes-of-Broadway show, Mozart is an OK, if less exciting replacement. Symphony performances lack the visual flair of musical theater numbers but the sense that you're peering into another cloistered universe is similar.

Created and written by Emmy winner Lena Waithe (“Master of None”), The Chi isn’t always an easy show to watch, but it imbues its characters with a humanity and complexity that makes the series commendable.

It's occasionally randy and sophomoric, but there are also some smarts and heart mixed in.

The predicaments Henry gets himself into, while sometimes predictable, are nonetheless realistic and entirely believable within the universe of this show (and sometimes real life, too).

As CBS procedurals go, Battle Creek is smarter and a little funnier than average.

The plot of tonight's premiere is silly and campy, but because The Middleman is based on a comic book, that's not altogether out of place. Whether this tone wears well over time remains to be seen, but in its first outing The Middleman rises above the middle-of-the-pack of scripted cable shows.

Another edge-of-your-seat thriller.

Entertaining in a sober-minded, educational way, Victorian Slum House offers an illuminating history lesson without getting preachy or dull.

If this is the end for “The Gilded Age,” bravo to the series for delivering two near-perfect seasons. But I do hope we’ll get to spend more time with these fantastic characters.

Viewers drawn to star-crossed romance are most likely to get absorbed in Outlander, which benefits from beautiful production design--great location work with filming in Scotland--but the show also suffers from some egregious exaggerations, especially the mustache-twirling Black Jack Randall, who couldn’t be more like Satan if he had pointy red horns.

For families seeking a new Christmas special, particularly if they're already fans of "Shrek" on the big screen, Shrek the Halls is a treat.

It's not even groundbreaking in the way "Will & Grace" was when it first appeared in 1998. But, boy, this Will & Grace is fun to watch. It's entertaining to spend time with the characters again and since 11 years have passed since I last watched an episode, it doesn't feel as tired as it did once upon a time.

Actress Colbie Smulders (“How I Met Your Mother”) elevates this well-made procedural private eye drama.

A whimsical, cleverly conceived dramedy ... Whether 'Ally's' fantasy element can stay whimsical, without falling over into tiresome or distracting (as it did on 'Dream On'), remains to be seen. [8 Sep 1997]

In its first couple of episodes “Mythic Quest” carves out its own niche, mining comedy from the specific realm of video game creation. A sociopathic intern who worships the boss, in particular, offers consistent laughs.

There is some pathos in Getting On with regard to the elderly patients, but that's seamlessly interwoven in the darkly funny personal stories of the hospital staff.

It's a rollicking adventure with decent special effects and better stories and character development than, say, Sci Fi Channel's "Eureka."

The program features a mix of tones that don’t always sit together comfortably, but taken as a whole this unusual period drama entertains as it winds its way to introduce its lead characters in the premiere episode.

The show hits the right Hollywood insider notes, but this season "Entourage" begins to feel a little tired.

A conspiracy thriller, this 2019 British import offers a whiplash-inducing premiere that goes from, “This is a ridiculous investigation that appears to lack a crime” to “How is that possible?”

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 show is becoming somewhat repetitive and a bit dull to the point that it feels like Downton, already renewed for a fifth season, needs to wrap it up sooner rather than later lest it overstay its welcome.

An exhilarating, fast-paced competition filled with colorful characters, "The Amazing Race" is a pulse-pounding good time.

A quality series that's the TV equivalent of comfort food, the emergence of Eli Stone from the Hollywood firmament may qualify as a minor miracle among more cynical viewers.

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

A welcome, interesting entry... But to work over the long haul, Agent Carter will need to beef up its stock sexist characters and make them more human.

Sweden is a quiet, gently amusing comedy.

What viewers saw so far was exciting, fun stuff with potential for a great “Star Trek” series, but the material in the first two episodes serves as prologue.

'24' continues to roar forward at a breakneck pace, and it does tantalize by dropping clues that keep viewers hooked ... But with the minutiae of love affairs gumming up the works, it's more difficult than ever for viewers -- and the show's characters -- to keep their eyes on the big picture threat that's supposed to drive the series. [26 Oct 2003]

None of the songs really stand out the way they did in the original. Kenny Ortega's lively choreography, however, is once again top-notch.

The emphasis on kids makes From Script to Stage a safe glimpse behind the curtain that's cute and sometimes informative but dramatically sanitized.

Ripper Street is decent enough entertainment that's most likely to appeal to fans of procedural crime dramas, viewers who gravitate toward CBS shows but don't mind wading through sometimes thick British accents.

Banana is the more conventional of the two shows with its focus on young characters.... Of the two series, Banana is more fun but "Cucumber" offers higher stakes.

The first half-hour is all setup, and while entertaining in its own way, with just one character, it's insular and unlike anything else on TV, which is always a tough sell for viewers conditioned to expect more of the same. The second episode gives Phil a much-needed sparring partner, which is funnier than the gags during his solitary existence.

Was this resurrection worth the effort? In a word, yes.

[Discovery season premiere] offers a mix of resetting characters and action sequences. But it also embraces Pike’s mandate for a lighter tone thanks largely to the Pike character--a warmer, more likable leader than season one’s cold, aloof Capt. Lorca (Jason Isaacs)--and a new character played by comedy actress Tig Notaro. ... So far, so good, but what any of this signals for the rest of the show’s second season is unknown.

Season 4 is uneven. Three stories--“USS Callister,” “Black Museum” and “Hang the DJ”--are far superior to the others. There is much more graphic sex (albeit hilariously depicted in “DJ”) and violence than in past seasons.

It’s not perfect--the pace is a bit plodding at times,; some characters hew a little too close to types--but overall The Divide is an engaging endeavor.

The pilot has all the markings of a winner. [26 Mar 1999]

The third season, streaming Thursday on Netflix, delivers more forward momentum. ... The eight episodes of “Stranger Things 3” generally hang together well if sometimes predictably, although a few character turns offer genuine surprises.

A cute if unnecessary time-traveling fantasy-drama.

It’s a cute premise. But the pilot is not believable or funny, which isn’t to say it couldn’t have been either of those things, but the details don’t ring true and the humor is sort of amusing but rarely elicits a laugh.

How really pleasant it is to report that M*A*S*H turned up on Sunday night with the spirit of the original, if not all the blood and free-swinging language, intact. [18 Sep 1972, p.31]

A funny, bizarre high concept comedy about a support group for alien abductees.

This season doesn't really kick into gear until night two, when Bill Buchanan (James Morrison) and Chloe (Marylynn Rajskub) return, operating outside the bounds of the government.

It gets off to a slow start and then takes a while for the whole enterprise to get up to speed. At about the third episode, enough of a foundation has been set that the jokes start to come more easily and more quickly.

It remains to be seen whether either will merit watching for a full season but the pilot does exactly what it should: It intrigues and makes the case for viewers to come back next week for more.

The Strain isn’t great TV but it offers enough unexpected gross-out moments that it’s OK summer popcorn fare.

It's the students that make Teach a sometimes interesting show. They drive the story's forward momentum as much as Mr. Danza does and quickly emerge as his co-stars in a program that touches on teacher quality, student apathy and the plight of urban public schools.

By the third episode... "Big Love" becomes an addictive treat.

"Invasion" offers a few scares, but it's more a sense of dread and something subtly awry that gives this drama its creepy vibe.

Occasionally funny.

The humor in Friday Night Dinner is often as surprising as it is rude. But there's a spirit of good-natured goofball charm evident in this family whose members clearly love one another, quirks and all.

Written by novelist Patrick Gale, “Man in an Orange Shirt,” airing timed to national Pride Month, tells stories both familiar and heartfelt (the consequences of repression; not being true to yourself) but also occasionally surprising (“open relationships” come into play in the second, contemporary-set hour).

The premiere feels a little overly long--it clocks in at 53 minutes--but it capably creates the show’s insular world of blood, sweat and cheers, ending in an inevitable fight that features Nate as Ryan and Jay offer encouragement from the sidelines.

An enjoyable mix of romance, period adventure and serialized plot turns, Poldark proves an entertaining, 18th-century summer soap.

Mr. Colbert’s Late Show proved smarter and more savvy than the average broadcast network talk show.

It’s unclear who “Not Too Late” is aimed at — certainly not kids, who aren’t known for their love of celebrity interviews. Maybe it’s meant for die-hard Muppets fans?

Rome wasn't built in a day, the saying goes, and that applies to this show, too. It's a slow build that requires some effort on the part of viewers, but after the first three episodes, I was hooked. [28 Aug 2005, p.TV-3]

Almost Royal is not a series that demands to be watched, but it’s a cute diversion for Anglophiles looking for intermittent laughs.

Everything about City does not spin with equal balance. The pilot's plot (the mayor stumbles into a gay rights controversy) is so hackneyed and out-of-touch, it makes you wonder if the writers have been to New York in the last decade. But the spin doctors at Spin City insist the plot's creakiness is an aberration - and so many other things in the show go well, I'm inclined to believe them. [17 Sept 1996, p.D-4]

Parks was disappointing in its first year but tonight's episode and one airing next week--with a storyline inspired by the Henry Louis Gates-cop kerfluffle--show that the program is making steady, funny progress.

Bosch is by no means a revolutionary show like Amazon's "Transparent," but it offers smarter than usual cop drama fare, and it's certainly better than any cop show currently on a broadcast network.

Whether a fantastic series follows tonight's strong pilot, well, it would take a flash forward to know for sure. But the show does offers a strong premiere that brims with future possibility.

"Thief" offers strong moments aplenty, but what it lacks are strong connections, both between those moments and among some of its characters.

Plot contrivances aside, the new season of Chuck gets off to a decent start as friendships rekindle (Chuck and best friend Morgan become roommates) and new parties get involved in subterfuge.

It’s an entertaining enough hour for kids — my 8-year-old was spellbound — but whether it attracts adult viewers as “Rebels” and “Clone Wars” did probably depends on how the show’s serialized story develops.

If you have the patience and good humor to let the back stories and mysteries unfold in the 109 minutes of the first episode, you'll enjoy spending time with Mma Ramotswe and getting to know the landscape of her beloved Botswana, a peaceful nation in southern Africa.

Designated Survivor pilot has its share of gaps in logic but it’s engrossing, if not entirely believable, and features the best opening scene of fall’s broadcast drama pilots.

Manhunt, clocking in at eight hours total, makes for fine if unexceptional storytelling. It’s a scripted true crime drama that may hook fans of psychological thrillers but lacks the panache and visceral punch of FX’s “The People v. O.J. Simpson: American Crime Story.”

Fans of Mr. King's Bill Hodges Trilogy might wonder how a mostly internal cat-and-mouse game between Brady and Bill, a retired police detective with too much time (and drink) on his hands, is played out over 10 episodes. Very well, as it happens, and to chilling effect.

Like any sketch comedy show, IFC's Portlandia has hit-and-miss sketches, but when they hit, they do so with a laughter-inducing amount of comedic force.

It’s a niche series that can be visually stunning but chilly and dark. ... After one episode, I had no interest in watching more “Devs”; after four, the series has me quite intrigued.

Disposable as it may be, Starter Wife still has more to recommend about it than, say, NBC's "Lipstick Jungle."

It's an entertaining hour sure to appeal to fans of A&E's equally fast-paced British import "MI-5."

Some of the humor works less well--Martin playing five instruments while flipping through a sketch pad is more strange than funny--but Martin is clearly a smart guy and his intellectual humor succeeds more often than it fails.

Written by series creators Andrew Mogel (“Allen Gregory”) and Jarrad Paul (“Living with Fran”), The Grinder sets up a decent one-joke premise--actors, they’re so vain!--but it remains to be seen whether there’s more comedy to wring out of that joke in subsequent episodes.

[Lansbury] made this show, which depended on smarts, instinct and the force of J.B.'s personality, not CSI evidence.

It’s unclear from the pilot how all these players fit together.... Gotham could rebound from its overly familiar opening episode. Maybe the villains will become more than the sum of their early cameos. And certainly the presence of actors of the caliber of McKenzie and Logue, capably playing odd-couple police partners, offers promise.

The second season premiere is a stronger hour than the show's pilot that aired in January with more character definition and lighter moments.

Smart, clever and punctuated with moments of warmth that avoid treacle, ABC’s Downward Dog delivers delightful comedy thanks to an angsty canine character with a psyche that is more human than mutt.

Executive producer David Eick said, "We wanted to make it less about escapism and more about moral complexity and great characters." In its early episodes, Caprica certainly succeeds in achieving those goals.

It’s always hard to tell how any series will go, especially one as reliably twisty and turny as American Horror Story, but in its first hour at least, Coven offers a clear, entertaining set-up for a potentially strong season.