[Creator J.H. Wyman] peppers what really is a police procedural with enough not-so-distant science to make Almost Human a sci-fi thriller, and enough humor to make it a buddy cop comedy.

The mystical mumbo jumbo nearly derails the proceedings, but Goyer reins in the hookum in favor of frolicking adventure that's more fun than fact.

If only writers John Brownlow and Don Macpherson focused more on Fleming's wartime spy-jinks than on his extended mating dance with the already married and cheating Ann.

Necessary Roughness hasn't scored a touchdown yet, but it's early in the game.

[Purefoy's and Bacon's] performances--and scenes that focus on Carroll's killer minions that I won't talk about lest I spoil things for readers--are the strongest parts of the series and overshadow the weaknesses. Those include numerous plot holes and some sketchy logic, plus Williamson's annoying habit of beating us over the head with the Poe references.

The show still feels like it's coasting off the success of those super-charged early seasons.

"CSI: NY" is just as good as the original "CSI" and its first spin-off "CSI: Miami." ... Yes, the writing is a little weak, but the atypical crimes and the fascinating technology make the show extremely addictive. [24 Sep 2004]

NBC's The New Normal has its share of stereotypes and crass jokes that straddle the line of bad taste. But it's also sweet and, dare I say, funny.

It may not be as intriguing as "Thrones" or as tense as FX's spy thriller "The Americans," but Turn--which touches on still-relevant topics like torture, homosexuality and politics--offers a fresh spin on the War of Independence.

Mamet and his actors have created a fascinating character study that puts our notions of prejudice, celebrity, media and justice in the spotlight.

Ugly Americans can be gross and bizarre, but everything makes sense in the world that it has created.

Watch it to laugh, and you'll have a lot of fun.

I can't help but believe that if this new series focused on the dark, foreboding tone in its asylum scenes, it could become a powerful, trippy 9 p.m. drama.

[Bean's] nearly the only reason to watch this retread mashup of team-based crime/spy shows and the "Bourne" films.

Tonally, it's all over the place.

By pulling the curtain back on the magic of Neverland, Willing has stripped all the fun from a marvelous classic.

OK, so I'm having a real problem with the idea that Bridget could get away with this switch for even one second. If you can look past that, you'll still have to deal with a story so dense it takes a couple long expositional scenes to explain it all.

When it really sails, it cuts through the waves swiftly. But it loses wind so many times the thrills come only sporadically.

True Blood still entertains with crackling dialogue and about half its plotlines, but it's starting to feel a little long in the fang.

Sounds promising, but the premiere falls flat.

While its glimpses into the democratic world of piracy are interesting, Black Sails could cull a few plot barnacles and give viewers more action.

Not only is the production harmed by its overloaded pilot and just fleeting moments of originality, its visual effects and alien makeup design are wildly inconsistent. Despite all this, Defiance grew on me the more I watched.

You're likely to understand Fox's hesitation with The Goodwin Games after seeing the premiere, which introduces the characters and the premise, but with only a few laughs.

The HBO special comes off more as another managed attempt to forge the legend of Queen B.

Missing barely winks at the silliness it slings.

As fascinating as the minutiae are, fine work by the cast makes me wish this had been a fully scripted miniseries.

The hauntings are staged for maximum creepiness; the show (and James) look great.

Although you've tasted many of the ingredients before (in "The Sopranos," "Mad Men," "The Godfather" movies), creator Mitch Glazer mixes in enough new elements to keep things tasty.