It is an extremely challenging bit of filmmaking, since almost nothing is initially what it seems and you have to pay very close attention to the complex storytelling.

More than usual, you feel the emotional weight our survivors lug around. But at the same time, he [writer-producer Scott Gimple] apparently wants to assure us that the show isn't about to back away from turbocharged action sequences and gruesome gore.

Told with style and assurance, this "Roots" revival is packed with credible performances, including Anika Noni Rose's terrific portrayal of Kunta's daughter, Kizzy in her older years, and Rege-Jean Page's charismatic turn as her son, Chicken George.

The good news is that Kaling and her writers have crafted a character who is competent at her job, not a goofball in scrubs. And they've offset the show's dreamy sweetness with plenty of snarky bite.

The Cold War may be over, but this addictive spy thriller is just heating up.

While The Red Road is not quite in the same league as "True Detective" or "Broadchurch," it is better than most, and it succeeds at drawing dramatic tension not from lots of plot-twist fireworks, but from the long-simmering resentments, private shames and historical injustices embedded in a community few viewers are familiar with.

The bottom line on Season 2 of The Newsroom is that it's unlikely to sway viewers one way or another. Devotees will continue to embrace it, and the haters will continue to hate.... As for this critic, let's just say that I'd rather watch an energetic, well-acted, provocative show that aims high and sometimes falls short, than one that doesn't aim high at all.

It's not as atmospheric and artful, nor does it exude the same visceral sense of place [as French series "Les Revenants"]. But taken on its own, it is an absorbing, well-paced, thoughtfully rendered production with a quality cast that ranks as one of the better new winter shows.

All the weird, impulsive jokes are as outrageously funny as they aspire to be. [22 Sept 1994, p.1C]

Arrow does what a solid pilot should: Suck us in, make us anxious to see what's next and set up several intriguing possibilities.

Season 6 jumps ahead in time and launches with a beautifully written, contemplative two-hour opener called "The Doorway."

Created by Gary Scott Thompson ("The Fast and the Furious"), Las Vegas appears to have all the ingredients of a compulsively watchable guilty pleasure. [22 Sept 2003, p.D01]

The first hour... is as kinetic as any episode the show has done. [26 Oct 2003]

An irresistible blend of soapy shenanigans, domestic tension, political intrigue and catchy tunes.

It brings something fresh, bold and thrilling to prime time.

Though Nikita is certainly dark, it's not as unbearably so as the USA cable version, which was too slick and soulless for its own good. The new version feels much more like a rollicking popcorn thrill ride.

Lux is one of those cute, quippy, ultra-mature teens you find only on TV. And several plot points unfortunately come across as false. But it doesn't matter. The lead characters in Life Unexpected are so likable, and the interactions between them feel so natural, that you find yourself willing to give the show lots of slack.

The rather trite concept is freshened up by some colorful writing that actually happens to be funny, and by engaging "Odd Couple"-like performances from Sheen and Cryer, who play well off each other. The series is also a prime-time rarity - a sweet domestic comedy that isn't overly sappy. [22 Sept 2003, p.D01]

To be sure, the show is like any other crime drama in that it contains darkness and violence--some of it erupting in unexpected ways. But there are enough new wrinkles here to make anyone who takes a chance on it feel thoroughly justified.

CBS has presented viewers with an exciting gift this fall. Their "Five-0" update not only doesn't stink, it's an action-packed, easy-on-the-eyes thrill ride that is slicker and sexier than the original series that aired from 1968 to '80.

If you've ever wondered how television screws up so many promising projects, check out Episodes, a new Showtime series with Matt LeBlanc that provides the answers in deliciously hilarious detail.

Fortunately, the series has enough edge and action and compelling conflict to keep it from getting mired in sap. Berlanti, in fact, has humorously referred to Everwood as "'Our Town' on crack" and he may have something there. [16 Sept 2002, p.D1]

A surreal, visually striking, insightful comedy-drama about the American way of death and a troubled middle-class family that deals with mortality every day. [3 June 2001, p.6E]

Some viewers will delight in the edgy humor, while others undoubtedly will want to slap an extra-tight muzzle on Wilfred.

Whereas most entries in the musty genre are simply inclined to go for cheap shrieks and lofty body counts, this saga defies expectations with a more humanistic approach.

Torchwood is grand fun and great adult entertainment.

Once you get used to the surroundings, it's still the same "As You Like It"--utterly charming and completely winning.

Although a bit rough at times (it's nowhere near as slick as "Laguna Beach"), Confidential is strong, emotionally charged stuff with the kind of real kids not often seen on TV.

It's an engaging series that's definitely worth at least a trial spin.

If you're looking for allegorical, intriguing science fiction, this isn't it. If you're OK with rapid-fire, light-hearted dialogue with an occasional dig at politics and culture, this "Doctor Who" is your cup of tea.

It is a gripping and explosively acted piece that involves the New York Yankees, the Son of Sam killer and the infamous 25-hour blackout that darkened all of New York City.

By the end of the first hour of Tell Me, I found myself caring deeply about what was happening to the couples and whether, in the end, they would find some joy of sex and emotional satisfaction. And whether I care about the characters is always my bottom line as to whether a series succeeds.

The early episodes of Project Greenlight do a great job of demonstrating just how important access is in Hollywood. [2 Dec 2001, p.C04]

Effortlessly mixing drama and wit, mysticism and biting social commentary, there is a real glow to Eli Stone that will brighten your day and lift your spirits. That is a very rare thing on television.

Yes, this highly addictive -- and often painfully funny -- soap can trample all over your comfort zone, but that can be a good thing if you give it some slack. It is rough and visceral and intense and defiantly alive -- commendable qualities, considering how so many banal (and derivative) TV dramas these days carry the mind-numbing effect of pre-op anesthesia. [22 June 2004, p.D01]

There's a depth, a richness to the series now that was only suggested [in the first season].

There is certainly enough right about the first hour of State of Mind that I'll be back for at least one more session with Ann Bellowes.

It can be downright uproarious at times. [27 Jun 2006]

It just oozes potential with sharp dialogue and a strong cast.

The [first two] installments--titled "The Beginning of the End" and "Confirmed Dead"--are gripping, vivid, beautifully executed and loaded with answers to the little mysteries of Lost life.

With striking eyes and a seductive smile, she's pretty much the only thing you see when she's on the screen. But Gugino doesn't get by on looks alone. She impressively balances toughness with a sultry vulnerability and plays Karen with a well-modulated nonchalance that brings an air of mystery to the character. And through it all, she avoids coming across as a cartoonish action hero. [1 Oct 2003, p.D01]

A show that, while ponderous at times, ultimately adds up to some very absorbing television. [10 Oct 2000, p.D01]

Although the pilot is hampered by a few cliches and acting that feels forced at times, the main leads are likable, the relationships involving and the storylines provocative. Consider it a promising start. [14 Apr 2003]

As messy as it sounds, the cast is good, the show looks great and the executive producer is Greg Berlanti, a writer whose recent track record ("Everwood," "Jack & Bobby," "Brother & Sisters") is unmatched.

Definitely worth your time.

The show could grow on you quickly because those involved are actually talented and engaging on- and offstage. One upside to Nashville is that it doesn't feel as staged as "Laguna Beach" or, in particular, "The Hills," a spinoff of "Beach."

Initially, these and other fresh characters make Season 3 feel overcrowded--and we pity any new fan trying to make sense of it all. But by the middle of the second episode, the show begins to gain traction and sucks you in with its new set of tantalizing mysteries.

Johnson is such a multi-layered character, and Sedgwick plays her so beautifully that you can forgive the weaknesses of the opening episode and hope they get smoothed out in what could be a very long run for this show. [13 Jun 2005]

This series is not only funny but actually seems to have something on its mind when it comes to religion and man's spirituality. [6 March 2000, p.1E]

At least early on, Nip/Tuck manages to hit the right notes and reclaim a spot as one of television's most watchable and entertaining series.

The writing is sharp and sophisticated, avoiding the predictable sitcom cliches.

[Entourage] has gotten funnier, more human and more insightful with age.

Within the first 15 minutes, you realize you have jumped onto what could be one hell of a thrill ride.

A gripping show.

There's a crispness to the series that was lacking at times last season, and it's impossible not to get caught up in the twists and turns that come in rapid-fire succession.

The show appears to be a perfect fit with "CSI" in that it similarly places more emphasis on procedural puzzles than personality.... But whereas "CSI" is all about the physical evidence, "Trace" is about psychological profiles. [26 Sep 2002]

A richly drawn, unflinchingly real and quietly moving family drama.

Addictive. [1 Dec 2004]

Under Soderbergh's direction, The Knick is a dark and gritty saga that captures a time of major changes--not only on the medical front, but in industrialization and race relations.

The acting is snappy and the characters are funky, while the cinematography is grainy and pleasingly unpretty. [17 Sept 2002, p.D1]

"Extras'' doesn't quite rise to the same level [as "The Office"], but it is very funny and Gervais plays another memorable character

Blanchard is lovely and plays Cher so well that you'll never miss Silverstone. Many of the key supporting actors from the movie reprise their roles in the TV series, but the chief saving grace is the clever script. [20 Sept 1996, p.3E]

If anything, season 2--also just eight hours long--is even better as Tyler's world in 1973 becomes even more complicated.

It is a classic fish-out-of-water comedy that shows a deft touch as it delves into adolescent anxieties and intercultural fears and misunderstandings. There are honest emotions and honestly earned laughs throughout the first half hour.

"Sleeper Cell" is a compelling, kinetic ride that matches "24" in its power and is far more realistic and topical.

Manages to be crude and sweet, smart and splendidly stupid, all at the same time.

An ambitious and wildly paced around-the-globe journey... "The Amazing Race" appears to have what it takes to become reality TV's next big thing. [5 Sep 2001]

Bristling with promise. [17 Sep 1994]

The show isn't exactly laugh-out-loud funny, but it's smartly written and the cast jells from the start.

Still, "Chronicles" is worth an early sampling, particularly given the current TV landscape where scripted drama and comedy is at a premium. Certainly, there is some promise to the opening episodes.

Californication is a near-perfect match with the established show, a caustic, sharp-edged mix of humor and drama that tiptoes along the edge of disaster but never drops into the looming abyss.

A creepy, atmospheric, sometimes downright scary hour of TV.

While the show does contain a few obvious penis punch lines, it is so much more than its gimmicky name suggests, offering plenty of heart, along with worthwhile riffs on the national economy, American resourcefulness and, yes, gender dynamics.

"Invasion'' has the look of a winner.

Occasionally, something will pop up to remind us of just how good television can be when smart writers come up with an intriguing concept and execute it well. A case in point is Breaking Bad, an edgy, challenging new series.

Warm, clever, appealing and a lot of fun.

For those who loved the original - and for those who liked it for its good nature, charm and peppy production numbers (that includes me)--the good news is that, if anything, the creators have managed to improve on the basic formula.

Daisies is something you shouldn't miss, particularly if you're looking for something different on TV.

Torchwood-- the "Doctor Who" spinoff that was a breakout sci-fi hit last year--is back Saturday with new episodes that are as smart, sassy and sexy as ever.

What ensues is a dizzying, turbocharged confrontation designed to keep your nerves in a vise (or your stomach in knots). Of course, it's all punctuated with the violent reverie of an all-out zombie splat-fest. So, basically, it's The Walking Dead on crank.

Burns puts forth a dazzling spread of vintage clips and still photographs, and his love for baseball is palpable throughout. Fellow fans will appreciate how the film celebrates the resilience and enduring appeal of the game.

A veritable treasure trove of frat-house humor. [1 May 2005]

Community can be too consciously zany at times and occasionally misses more than it hits. But from the early looks of things, it seems to be holding up just fine.

Whatever the case, it's a blast to watch Valley's character squirm his way out of a major mess, while keeping his droll sense of humor intact. Human Target never will be a big-time Emmy magnet, but as a piece of good, escapist fun, it definitely hits the mark.

A pretty lively and entertaining show, maybe the fledgling WB network's first real shot at a breakaway hit. [10 Mar 1997, p.10E]

Has a solid premise and a lavish look. The show's signature visual gimmick features characters morphing into their younger selves. Then there's the appealing Rush, who makes a very strong first impression. [27 Sept 2003, p.D01]

Rogue does a nice job of methodically building an unsettling mood.

So far so good. ... A show that exudes a distinctive vibe and carries some social relevance.

The story, penned by executive producer Andy Breckman ("Rat Race") gets predictable at times, but it deftly manages to mix drama and humor while bringing new twists to a shop-worn genre. [11 July 2002, p.D1]

[Dinosaur-rock] cliches still pack a comedic punch because, well, they're just so outlandish and evocative. The key is to bring some fresh twists to them, and for the most part, Leary's bunch succeeds in doing so.

All of the lead actors dig deeply into their roles, with Farrell playing the wary, weary burnout to perfection, and Vaughn shifting into full-throttle intensity. The story is dark and atmospheric--just the way fans like it. Meanwhile, the first three episodes hint at enough buried secrets and fresh angles to indicate that the story still has a lot to give.

It has enough kooky class warfare, sexual shenanigans and whodunit intrigue to make for some escapist summer fun.

Viewers turned off by the bitterly boisterous, superficial and often one-sided confrontations on the cable news channels might find The Sunset Limited to be refreshing in some ways.

The series takes its horror seriously. There are genuine jolts, along with lots of intense, turbocharged action sequences, and fountains of blood that give the story visceral oomph. The faint of heart may want to sit this one out. On the other hand, there's also enough comedic energy to keep things from feeling excruciatingly brutal.

The trick for Midler's writers will be to make sure the show is at least somewhat grounded in real-life situations while keeping the inside-Hollywood stuff from being too inside. It's funny, for example, when she expresses vengeful bitterness over losing the 1979 Oscar to Sally Field ("Norma Rae"), but it might not be so funny to hear references to her 1982 celluloid stink bomb "Jinxed." (Remember that one?) [11 Oct 2000, p.D01]

What Up All Night has over other baby-rearing shows is a refreshing irreverence.

"Thief" is a worthy addition to [FX's] schedule.

The production is bolstered by some stunning visuals and a few tantalizing plot twists that I won't go into here. Also, the we-don't-need-Batman female empowerment angle holds some intrigue. [9 Oct 2002, p.A1]