Much of the writing here is dreadful; scenes go nowhere while thinly developed characters pop in and out of the action--although there is little action early on.

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.

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.

Unlike Season 5's two-hour premiere, which easily could have been edited to half its length, every minute of Sunday's episode feels necessary, checking in with all our favorite players and dancing with Weiner's favorite theme, death.

In seriously exploring what drives people to kill, Hannibal serves up a meal too heavy to enjoy each week.

Despite its historic gravitas and scrupulous attention to period detail, Spies of Warsaw never really ignites.

As Sarah makes one shocking discovery after another, Orphan Black weaves an increasingly intricate, suspenseful tale.

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

Like "Psycho," it offers a deliciously scary stew of unexpected twists, murder and mind games.

The good news is Vikings improves with each episode, slowly building its fascinating characters and discovering its ultimately absorbing tale.

Psych still finds new and wonderful ways to amuse and delight fans.

Sparks fly, parts break off, hydraulic fluid sprays. At least the episode ends with 10 minutes of awesome.

Despite fine acting from Cumberbatch and especially Hall and rare moments of comic relief, this adaptation of Ford Madox Ford's novels feels heavy and suffocating.

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

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

[Todd Ray's] passion for the peculiar is praiseworthy, and erases any misgivings that the venture is exploitation at its most blatant. Still it's not that easy to watch a guy called Morgue stick a hook in his nose until it comes out his mouth.

It's not always pretty or easy to watch, but Southland remains an outstanding hour of appointment TV.

The quirky campus comedy is as clever and edgy as ever.

The addition of Chicago native Hudson is a masterstroke, but with all that other melodrama, Smash remains a hit-or-miss proposition for me.

The M&Ms are brutal and might have set Monday Mornings apart as a psychological examination of regret and human error. But in the three episodes sent for review, producers David E. Kelley and CNN chief medical correspondent Dr. Sanjay Gupta (adapting this from his 2012 novel) instead overdose on the same sappy storylines we've seen before.

[An] exciting but frustrating spy thriller from former CIA employee and writer-executive producer Joe Weisberg, skillfully captures the anxiety of the age.

Dallas is just as superbly soapy as ever, but you have to wonder whether the show can survive without its legendary star.

He's funny and totally down to earth, which makes him an engaging host and guide for the eight-episode series.

[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.

While "Copper" took some time to get into a groove, Ripper Street is riveting from the first cry of murder.

While Prosecuting Casey Anthony does a decent job of re-creating the trial and media frenzy surrounding it, it fails to offer theories as to why the jury didn't convict her of murder.

Legit is legitimately and simultaneously raunchy, sweet and funny.

Exec producers Paul Abbott and John Wells deliver dark humor, a full heart and a real desire to illustrate--no matter how outlandishly--just how difficult it is for impoverished families to make ends meet.