The Limitless pilot, the only episode CBS made available for review, offers a terrific hour of character introductions that builds on the world established in Mr. Cooper’s movie. There are a few plot holes, but they’re forgivable. Then in the last 10 minutes of the pilot, everything that made the hour unique is threatened with extinction when you can see the confines of the CBS crime procedural box closing in.

At its heart, beneath all the high-tech whiz-bang CGI, Minority Report is a procedural crime drama with serialized character relationship stories threaded through it.

While Ms. Alexander is an appealing lead actress, Blindspot feels like a too familiar, warmed-over series premise even though it’s the only “original” series concept among the three thrillers debuting in the next two days.

It’s not as well done and not nearly as funny or relatable [as Modern Family].

Its ratio of energetic, entertaining segments to time-wasting, self-indulgent filler (on the part of Harris) just doesn't pencil out in the audience's favor.

Because it’s set in such an alien world and jumps around a lot introducing its myriad characters of assorted social classes while also setting in motion multiple plots, The Bastard Executioner gets off to a messy start. (When press notes offer more details on the many bearded and long-haired look-alike characters than the show itself, you know there’s too much going on in a series, and clarity has been sacrificed.) But Bastard Executioner improves as it goes. The question is whether viewers will stick with it.

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

This Project Greenlight lacks the visual flair and polish of "The Chair" but it's people-talking-about-making-a-movie-in-drab-offices vibe is similar.... Project Greenlight is more focused and that streamlined approach continues to make it the superior movie-making docuseries.

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

There are enough flourishes surrounding Pernell’s visions to maintain viewer interest, but after a while the pilot feels like a slog.

The Carmichael Show improves as it goes, especially when veteran performers Loretta Devine and David Alan Grier come on screen.

Public Morals blends somewhat predictable plotting with decent character development and recognizable period, cultural flourishes.

Tucker will be lucky if viewers don't run screaming from the room. [2 Oct 2000, p.B-10]

Irritating and irredeemable, Danny is a first-class dud. [28 Sept 2001, p.36]

Some viewers will be eager to get to more zombies, but the quicker the show does this, the less unique it will be. Episode two moves the plot forward faster--more characters begin to understand what “the infected” are capable of--which will appeal to those craving zombies, but is sure to disappoint anyone wanting this show to shamble its own way.

To be blunt, Starz’s Blunt Talk is spectacularly unfunny.

Documentary Now! offers clever, frequently funny parodies of a different style of documentary each week.

Unlike The WB's funny, wistful, pop culture-filled "Do Over," the one-hour That Was Then goes for pathos instead of laughs and it mostly misses.

What is it about this television season that made TV executives say, "I think what Americans want to watch in a sitcom is people taunting, disrespecting and insulting one another"?...Insult humor courses through the veins of Fox's Luis, an alleged comedy that provides few laughs.

The landscape is beautiful, the stars are beautiful, but watching Hawaii is like staring at a department store window: Everyone wears cool clothes, the scene is hip and tries to look fun, but there's not much substance to any of it.

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.

The whole show is paint-by-numbers predictable, from the wayward cousins’ unhappiness, to their slowly grudging acceptance of their aunt and uncle saving them from getting shunted to a random foster home.

A funny enough comedy with a predictable premise that manages to surprise by often taking an unpredictable path.

A rote sitcom and an embarrassment for all concerned.

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.

Significant Mother benefits from amusing bits of dialogue here and there, but it’s largely predictable and fails to bring anything new to the sex comedy subgenre.

The dull Descendants.... just seems like a widget--albeit an occasionally cute, harmless widget--churned out by the Disney machine.

Fans of the original are likely to enjoy this follow-up, which improves in succeeding episodes after the somewhat lackluster first entry and those who scratched their heads at the movie are likely to have the same reaction to this prequel series.