O'Donnell and LL Cool J form an easy alliance that's filled with lighter moments of humor even as they investigate a plot that's decidedly obvious and unsurprising.

Given the topic, Too Big to Fail might seem like a movie made only for policy wonks but even if you don't understand the finer points of monetary policy, it's still entertaining because it features that great equalizer in American popular culture: Wealthy, well-heeled people behave like jerks, allowing the less wealthy a certain superior satisfaction.

Show Me a Hero spends too little time with these characters [African-American residents of existing Yonkers housing projects] in early episodes for them to make as big an impact as the drama surrounding the white politicos arguing about their future.

Overall, Z Nation is pretty grounded and also manages to surprise viewers with the characters it chooses to sacrifice in its pilot episode.

It's not groundbreaking TV, but the pilot does a good job of introducing the characters, their relationships, their potential relationships.

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.

HBO's Clear History, a cable movie that plays very much like an overlong episode of "Curb."

If Vegas goes the "Good Wife" route and focuses on characters and politics, it could develop into a worthwhile series.

Enlisted is often still funny and the bond among the brothers is sweet without getting too cloying.

Netflix’s soapy House of Cards stumbles out of the gate in its third season with a first hour that’s short on lead character Frank Underwood (Kevin Spacey) and long on a supporting player whose foibles are by now a TV cliche.... but the show recovers in its second episode, returning the emphasis to Frank’s political brinksmanship.

The path The Big C takes is fairly predictable and unsurprising, but that doesn't mean these last four hours aren't occasionally heartfelt.

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).

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.

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.

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.

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.

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.

The Guardian is a show with promise, and it may well develop into a high-quality program in the coming weeks. But it's not a warm, fuzzy, easy-to-love show like, say, "Judging Amy." It's rough and tumble, a challenge to watch. [25 Sept 2001, p.C-1]

Seven features an entertaining ensemble, a tongue-in-check approach and an attractive visual style that alternates between sweeping vistas and ultra-tight closeups. The sap and the male-bonding is sometimes a bit thick, but overall Seven is a clever update of an old TV genre - and a welcome break from TV's current glut of cops and docs. [2 Jan 1998]

The two-hour “Yellowstone” pilot is both talky and somewhat predictable as it establishes the characters, their relationships and conflicts. But future episodes offer more surprises and deepen the characters--flashbacks help establish why Beth is the way she is--making “Yellowstone” an enticing summer diversion.

Whether Scream can overcome Noah's legitimate concerns about adapting a slasher movie for TV remains to be seen. But tonight's premiere gets the show off to a strong creative start.

What Mindhunter lacks in energy it makes up for in better attention to character details. Mindhunter grows significantly more interesting in its second hour once Holden gets paired with veteran FBI agent Bill Tench (Holt McCallany, “Lights Out”) and starts interviewing co-ed killer Ed Kemper (Cameron Britton, who nails a so-serene-it’s-creepy vibe).

Not flashy, not spectacular, "8 Simple Rules" is a cute show that will appeal to its intended audience.

The show is at its best when it deals with the ways in which she is torn between two cultures--the mortal world of her high school and the witchy world of her birthright--and when it depicts how Sabrina’s avowed feminism conflicts with aspects of her religion.

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

House of Saddam offers a fascinating but limited portrait of the Iraqi tyrant.

The show, although plenty entertaining, also feels like it's grasping to keep the drama of Tara's situation at a suitably heightened level while other character story arcs, most notably Marshall's, feel more believable.

True, it may be a little too high-concept, but it held my attention much better than plenty of other, much worse TV comedies.

The Big C does not arrive with as sturdy a foundation as "Nurse Jackie," an unusually well-developed show from the get-go, but Ms. Linney completely inhabits a role that's recognizable as a woman who is strong and unusually selfless--at least until her diagnosis.

Of the two new cop shows this week, Southland is the more serious and realistic. It also demonstrates the potential for greater depth in its exploration of characters and their stories.

While scenes with a crime crew drag, in part because it's not always clear what's going on with them, anytime the focus shifts to crooked cops Frank Agnew (Mark Strong) and Joe Geddes (Lennie James), Low Winter Sun proves to be a gripping drama with a vibe most reminiscent of "The Wire."

An action-packed adrenaline rush.

Cute but not overly cuddly, there's an authenticity to the relationships in "Mother" that makes it a comedy worth meeting.

Warm, welcoming and occasionally tear-jerking, this three-hour production goes down like a warm glass of milk at bedtime.

Its slightly warped sense of humor won't appeal to some viewers, but "Malcolm in the Middle" qualifies as unique.

It's soapy and action-packed while still paying attention to developing its characters, the typical ABC Family Freeform mix of elements that's proved successful with its audience so far.

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

Jessica Jones could still use more levity, but its second episode reveals a streaming series that’s headed in a more balanced, intriguing direction.

In a cable universe where antiheroes dominate the scripted drama landscape, there's something reassuring about spending time with characters who, though flawed, usually try to do the right thing.

The movie--as Jane Austen might have described it--is an amiable entertainment.

As long as CBS's Dave's World' tonight's TV transcription of columnist's Dave Barry's life, sticks with Dave's family, it pretty much hits on all cylinders...Unfortunately, Dave's world extends beyond his family unit, and that's when things get tricky. [20 Sept 1993, p.C7]

The new "Watching Ellie" is indeed improved. It's funnier, better paced and doesn't try so hard to be different. This works out for the better.

What distinguishes 'Grain' from many Hollywood efforts is its feel for the rhythms of small town life. ... If many of the plot points seem familiar, ''Grain'' also has a nice way of exceeding expectations, calling characters up short or twisting the plot in ways you may not see coming. [1 Oct 1993]

The show suffers from fakey scenes of Joe and his team in the office--they feel pretty staged--but when Maddalena is out meeting people who want to sell the Hollywood memorabilia they own, Hollywood Treasure is a lot of fun.

The tone of the pilot makes jarring shifts, but episode two settles into a comfortably arch take on the hubris and egocentrism shared by members of the Roy clan.

The Durrells in Corfu is as warm and pleasant as its picturesque setting.

Gteat News manages to be at least a good broadcast network comedy thanks to sharp writing and winning performances, particularly from “SCTV” veteran Andrea Martin as Carol, mom to cable news producer Katie (Briga Heelan).

The show is unlikely to win Emmys but it is worth a few chuckles, spurred on by actresses in an age bracket not generally associated with leading roles on network sitcoms.

The humor in Eastbound is a far cry from the cerebral comedy currently en vogue on shows like "The Office" and "30 Rock," but that doesn't mean Eastbound can't do sly humor that falls left of center.

After a slow start early in the pilot episode, the pace quickens, turning Condor into a taut, violent, compulsively watchable series for fans of “24”-style thrillers.

When Betty White is on screen, the emotions are real, and she's on screen a lot. It's a safe bet that tears will be shed.

Filmic in its look and style – the series screams “big budget” – “Jack Ryan” has its exciting moments, and even when there are not explosions on screen, the presence of the always-likeable Mr. Krasinski easily pulls viewers through to the next exciting action set piece.

There's little urgency to the storytelling, which is as slow-paced and easy-breezy as lying in a hammock strung between two palm trees on a Key West beach.

Pretty much every character and character trait will be old-hat to regular TV viewers but director Tim Matheson makes the pilot episode hang together pretty well.

Bates Motel takes a few episodes to get going as the writers build the world of White Pine Bay, and the story appears poised to really kick into a higher gear with a revelation at the end of the third episode. Up to this point Bates Motel is an OK character drama, but in building the broader world it inhabits the show begins to come into sharper focus.

Pretty funny. Pretty profane, too, but still funny, and a better-realized weekly program than last week's Showtime comedy premiere, "Weeds."

As "Thrones"-aping series go, The Last Kingdom is a better bet than plenty of others. It's easier to follow than "Bastard Executioner" and less battle-crazy than "Vikings," occupying a gentler middle ground.

This seven-episode limited series is both cynical (about God as CEO) and full of hope (about the potential for humanity). It’s also consistently clever and funny.

Sunday’s premiere doesn’t give a great sense of what the show will be on a weekly basis--a business drama with a side of humanity about following one’s passion, perhaps?--though it definitely leaves viewers curious about what comes next.

“Living with Yourself” busts through some of the expected guardrails on the story. Other characters do learn that there are two Miles so the story pushes forward without spinning its wheels too much.

The pilot episode of The Fosters is pretty entertaining and well-plotted.

Once The Chair gets beyond producers bloviating, it’s a more interesting series about the two newbie directors.

Alex, who has tried to live a by-the-book life as a businessman, gets pulled into a family crisis in a believable way that doesn’t feel like a ridiculous TV plot twist.

The show is nothing more than a soap with good music but it has a sense of humor often enough to keep me entertained.

Viewers who want TV to wash over them as light entertainment may enjoy Franklin & Bash, but viewers who prefer thought-provoking TV programs that engage on a higher level may not be satisfied.

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.

Terra Nova walks a fine line and how well it manages to stay on that path will likely determine its ultimate success or failure.

The Finding Carter pilot proves there’s plenty of material to work with for a soapy drama.

The Detour is pretty consistently funny but the humor tends to be filled with sexual innuendo that some viewers will find offensive. For others, it will be just fine.

Some viewers may find “The First” too slow, especially in the first two episodes, but “The First” becomes more engrossing as it unfurls, especially when the show’s scope broadens out from Tom and explores the other characters.

“Love, Victor” is a pretty tame affair – perhaps too tame for Hulu. The show builds to a season finale cliffhanger that sets the stage for a potentially more interesting, less paint-by-numbers second season.

Against all odds, this mishmash of stark contrasts emerges as a surprisingly engaging film.

Prime Suspect improves as the hour goes on. The guys' attitude toward Jane evolves.

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

The season premiere makes a gentle effort to re-establish the show’s shrinking original cast.

Three-minute shorts featuring the easily distractible “Toy Story 4” character, are quite funny.

Doom Patrol offers an entertaining, illuminating pilot episode that distinguishes itself by doing a deep dive into the backstories of its characters.

Billy and Julie are not supposed to be likable. They’re both kind of awful, a la the “Seinfeld” gang,” but often screamingly funny in their inappropriate commentary.

It’s more quiet and contemplative (and occasionally a bit dull) than it is propulsive. But viewers drawn to quiet, thoughtful character stories and a largely unknown story from women’s history may find “Alias Grace” engaging enough.

The show's trademark time shifts continue, although it's initially unclear if they're connected to the season one story that carries over or to the season two plot.

Schumer is brash, outspoken, bold, raunchy and tomboyish enough to fit right in and her show is often quite funny for viewers (especially men) who are not easily offended.

If you're easily offended, you will be appalled by The League. If you chuckle at smutty, raunchy humor and profanity, this show offers dirty-minded comedic rewards.

A light-hearted, comedic drama about four wealthy guys with women troubles and work problems.

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

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

I was very upbeat about 'NewsRadio' when I'd only seen the pilot -- and then NBC went and sent a second episode. [21 Mar 1995]

Depending on your tolerance for edgy humor, 2 Broke Girls ain't broke, but a greater effort by the show's writers to be funny without being overly crude/cruel would help fix it for a broader audience.

It’s an interesting conceit to follow one character at three points in his life every week and see how things that happen in one era influence another. It also seems like quite a juggling act for the show’s writers. Time will tell how they manage to maintain it on a weekly basis.

While the show's premise seems like it could be difficult to maintain, Faking It holds up in two early episodes sent for review.

In addition to a less convoluted story, "Kidnapped" bests "Vanished" with its high-sheen cast.

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

'Rock' is loud, raucous, silly, sentimental and, just often enough to keep you watching, flat-out funny. It's not a great show, but it's different and it dares to aim for wild laughter instead of mild amusement. [9 Jan 1996]

The show has its amusing moments, though not from an abundance of 1980s nostalgia clips (“The Karate Kid,” “Knight Rider,” “ALF,” “Different Strokes” and “Back to the Future” all whiz by on screen) and music cues. The humor comes from the characters and their relationships.

Judging by three episodes sent for review, the[se] course corrections work.

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

Technically, Sharknado 2 is pretty much just as sloppy as the first film, with scenes that supposedly take place during a storm filled with streams of natural sunlight, but the amateurish quality is part of the franchise’s charm.

Created and written by Paul Rutman, Indian Summers looks fantastic. It’s not involving enough in its first two episodes but begins to coalesce more in a third installment.

Overall [it] is more charming than hilarious.