What really makes the opening episode work, though, is the chemistry between Grammer--as Chuck Darling, an egotistical newsman who has returned to Pittsburgh after his career stalled--and Heaton as his uptight longtime co-anchor, Kelly Carr, who isn't thrilled by his return.

Ringer may not be able to match the Master of Suspense at the top of his game, but it does a great job of creating a constant state of queasy tension.

Despite all the implausibilities and irritations, Switched manages to make a positive impression, thanks to some sturdy writing and solid performances that adequately sell the premise.

Brody's portrayal of the wise but nerdy Seth energizes The O.C. He's comical without being cartoonish, and the humorous touches he brings to the story help to lighten up a show that at times feels overly heavy. Here's hoping the script writers don't leave his character in the dust in favor of chasing more glamorous story lines. [5 Aug 2003, p.D01]

The boys are at their best when mocking the absurdities of what they find on television.

For now, though, Delany is enough to hold our attention. With a deft touch, she blends just enough warmth and vulnerability with the sass and smarts to make it all palatable.

They [Robin Williams and James Wolk] seem to be having a blast playing off one another, and their comedic energy is infectious.

The Michael J. Fox Show tries really hard to be as warm as a cup of cocoa yet hilariously irreverent. Maybe too hard.... On the plus side, Fox still oozes self-deprecating charm, and I love the sweet and playful chemistry he has with Brandt. Also, Pierce is a hoot as the smooth con man of a boss. More of that, please.

House of Cards remains a slick and suspenseful--if not exactly layered and nuanced--saga that sucks you in from the start.

The Slap, a provocative new NBC drama, is a saga that gets under your skin. That doesn't mean it's a great show, but I imagine the issues it raises will spark plenty of spirited dinner-table chatter among those who see it.

Crossfire Hurricane deftly blends vintage concert footage, TV broadcasts, pieces of key songs and clips from other documentaries in with voiced-over highlights from 80 hours of fresh interviews with current and past band members--all conducted off-screen.

Grace has a world of promise with thoughtful writing by Nancy Miller ("The Closer," "Any Day Now"), an intriguing take on the nature of faith and a sheer force-of-nature performance by Hunter.

The show's characters have proven to be an engaging bunch over the long haul and several themes embedded in The Game pack more emotional punch than most sitcoms. Judging from fan response, this is clearly a game plan that works.

The solid acting performances and the family dynamics contained in Blue Bloods make for an absorbing hour of television.

Duchovny, as usual, is a kick to watch. He brings just the right touch of casual charm and swagger to the role. Meanwhile, Anthony's Manson is appropriately chilling, even as he utters kooky lines like "I pulled you out of the womb of ignorance and into the light of now." And a sound track full of evocative tunes from the era keeps things humming. All in all, Aquarius makes for a cool summer diversion.

We don’t know if Pitch can sustain its uplifting premise, but after a fun and engaging pilot episode, it’s ahead in the count.

Breakout Kings manages to compensate for its lack of creative ambition with some lively writing, good pacing and an off-kilter sense of humor. It is also blessed with a colorful cast of characters.

Through the early episodes, nothing really happens that you couldn't see coming. Still, the setting is so seductive, the period details so vivid and the acting so stellar, that it's as intoxicating as a potent mojito.

A contrived, yet effective, piece of feel-good television.

The writing is smart, the production is crisp and surprisingly stylish, given the budget, and the show has a fascinating central character in kinetic blogger Dylan Krieger.

Scenes unfold at a leisurely pace and are punctuated with visual flourishes that allow us to soak up moods and emotions. On the other hand, the show suffers from stretches of starchy dialogue, and the uneven pilot episode doesn't adequately deliver on the promise of what's to come.

While Mob City does have its weaknesses, including patches of starchy dialogue, it offsets them with some magnetic performances.

It's familiar sci-fi territory, of course, but the show tackles it in intriguing style while delivering some suspenseful touches.

Dockery’s rousing chameleonic performance, along with the tension-filled interplay she has with Botto, are enough to have us hoping that Good Behavior will ultimately be as good as it can be.

Viewers who look to Downton Abbey for loads of escapist splendor may want to temper their expectations when the wildly popular British drama returns for its fourth season on Sunday.

Supergirl pretty much hits the beats you expect it to hit. There are rollicking battles enhanced by lots of digital trickery. There are hints of sinister threats to come, and some plot twists probably aren't as surprising as the writers think. Still, Supergirl is made with style and assurance, and it does enough to keep things interesting.

This series is about the bonds of family and heated power struggles--with a big dose of vampiric hedonism mixed in. Sounds like the makings of something pretty fang-tastic.

Dallas is teeming with the soapy plots, delectable eye candy and bad blood we crave in our TV guilty pleasures. It also maintains the general tone of the original without devolving into camp.

Whether Rome attains that stature is entirely up to the Nielsen gods, but one thing is certain: The series is a lusty, violent, rollicking saga that is sure to seize plenty of initial attention, if not for its ravishing production values, then for its rampant depiction of ancient-style decadence and debauchery. [27 Aug 2005, p.F4]

For some, it has become a mostly predictable, tired pattern that causes eyes to roll. But for those who can still check their critical capacities at the door--even after seven seasons--24 continues to make for pulse-pounding, nail-biting comfort food.

What Deadwood becomes within its first four episodes is a complex, neo-Shakespearean take on social and institutional corruption, racism, environmental barbarism, and the nature of good and evil. It not only provides a different view of how the West was won but also muses on how the taming of the frontier mirrors modern times. [21 Mar 2004, p.3E]

After watching the show's first three episodes, I'm intrigued, if not totally wowed. But I want to see more.

Based on Sunday's pilot episode, Crisis has the potential to be one of the spring season's most addictive network offerings. It's intense and suspenseful.

It manages to remain faithful to the tone and lively style of the original. Newcomers really don't have to be well-versed in Torchwood lore or "Doctor Who," the series that spawned it, to get a kick out of sci-fi craziness of it all.

[Ricky Jerret, played by John David Washington (Denzel Washington's son) is] the show's secret weapon--a handsome, energetic live-wire who expertly conveys the brash ego and subtle insecurities of a player whose career may be fading into the sunset at the age of 30. But make no mistake, this is Johnson's baby. With that all-glowing smile, he brings his A-game to Ballers while always managing to look good in a suit.

With all this going for it, the real question about The Beat may be whether a smart audience will ever find it buried on the testosterone-driven UPN schedule. The series has some kinks to work out but it's definitely worth tracking down. [21 March 2000, p.1E]

Based on tonight's premiere, this mix of "Star Wars" and "Stagecoach" could prove to be visually ambitious, thematically provocative and full of crackling dialogue. [20 Sept 2002, p.1]

The writing is clever with sly references to the Man of Steel myths. In Welling and Kristin Kreuk, who plays Lana Lang, they have actors who are not only good but will be on the cover of every teen magazine within weeks. And Michael Rosenbaum manages to make Lex sympathetic even when you know he will end up being Superman's greatest enemy. [16 Oct 2001, p.1E]

The show is at its best when the confrontational tension among the humans is palpable.

Fortunately, as the saga unfolds, it delves into fresher territory, and Political Animals becomes an intriguing, even occasionally humorous, family soap opera.

The Catch contains all the ingredients we've come to expect from the folks at Shondaland: glossy production values, a diverse cast, hyper-articulate dialogue, hairpin plot twists and lots of eye candy and writhing hips. If you've been a fan, you'll surely want to take another ride on the roller coaster. If that stuff makes you want to spit at your TV, it's best that you keep your distance.

Marin-based screenwriter Jane Anderson and director Lisa Cholodenko keep the timeline but ditch some of the stories, while proceeding in a leisurely fashion that allows us to really get to know the key characters.

We've seen plenty of these high-concept TV conceits start well and then sadly unravel. For now, though, there's no place like Dome.

All the Way, at times, feels overstuffed, but you remain riveted while watching Cranston delve into the many layers of Johnson's personality, from folksy warmth to ruthless rage to the nagging insecurity over being considered an "accidental president."

There is more tension to the interaction between the characters and more emotions in play. [23 Sep 2002]

The writing, which delivers humor and heartbreak in near equal measure, contains enough observational shrewdness to keep the endeavor engaging. And the performances by this all-star cast don't hurt, either.

The revived 24 is still instantly involving and packed with a dizzying rush of suspenseful crescendos. The new Jack, meanwhile, is the same as the old Jack, which is to say he flips the bird in the face of terror and squirms his way out of major messes like a gun-toting Houdini--all while managing to make a man purse look good.

Bening provides the spark that drives "Mrs. Harris," keeping its darkly funny irony from degenerating into campy humor.

"Falcone" essentially is "Donnie Brasco" lite--tightly plotted and mostly absorbing, but watered down in terms of acting and storytelling (not to mention dialogue). Still, it's sharper than most of the typical network fare. [4 Apr 2000]

The writing has picked up considerably since the pilot. But the real reason to try this show is the cast.

"Threshold" seems to have a lot going for it. A good bunch of writers. Classy production. One of the season's quirkiest and most appealing casts,... Whether all these high-quality ingredients result in an intoxicating sci-fi stew remains to be seen.

Fresh and fascinating.

It shows more than a bit of promise.

Though "Christy" has predictable turns ... it's always involving and the characters are so appealing that you'll surely want to see them again. [3 Apr 1994]

"The Book of Daniel" turns out to be something rare to network television these days. It is a rich family drama that isn't afraid of dealing with real issues in a real way and with humor, falling somewhere between "Six Feet Under" and the late, lamented "Once and Again."

'Weeds' stumbles at times during its first few episodes. It makes some of its points with too little humor and subtlety. But for the most part, this is a nuanced comedy with interesting characters performed by a first-rate cast. [5 Aug 2005]

Queen Sugar is deliberately paced--almost annoyingly so at times--and the opening scenes of Tuesday's pilot episode have a disjointed feel to them. But the show eventually finds its footing and packs an emotional wallop as you get to know and care for its characters.

It's all shamelessly manipulative, but the show has real heart.

The Riches is not a perfect show (the story's twists stretch the rules of plausibility every week), but it has something to say about such concepts as freedom and what constitutes a normal life. In addition, you won't find any better lead performances on television than those offered by Driver and Izzard.

A smart, sophisticated spoof.

Moliere it's not, but somehow it works as a sort of energized hybrid of "The Beverly Hillbillies," "Mork & Mindy" and those "Coneheads" sketches Curtin spent so much time in while she was with SNL. [7 Jan 1996]

[It] is a bit too slavish in its imitation of the "Runway'' formula, but in its opening episode, it shows signs of real promise.

The series has a familiar format, but the opening episode suggests it may have some real spark to it.

Every AHS series has now featured at least one [rape scene]. Isn't it time to move on? At least he and his collaborators, as usual, do their best to soften the blows with healthy doses of camp and humor.

I won't pretend "Dexter'' is for everybody. If you wince during scenes on "CSI,'' the series isn't for you.... But if you like the idea of a very good show that wrestles each week with moral dilemmas and the nature of good and evil, "Dexter'' is just the thing.

The dialogue is often sharp, well-observed and very funny. It is sexy and, occasionally, raunchy in both language and love-making. The cast members make the lead characters warm and interesting. [16 Jan 2004, p.7G]

At times, the storytelling is hopelessly and irritatingly convoluted. But you have to admire the ambition of the filmmakers in tackling both tough subjects and complex themes, a cast that rises to the occasion and the "24"-like kinetic energy. [26 Jan 2004]

The show doesn't look as if it will get too complex for its own good, the mystery has an internal logic that works and, best of all, there are moments... that suggest the creators are constructing some real flesh-and-blood characters.

There’s not a ton of depth to Shrek the Halls but it is fun.

The juxtaposition of the sometimes off-the-wall comments and the cuddly creatures is what makes "Comforts" so amusing.

The patter is more what you'd hear from reasonably clever people in real life, not a bunch of lines thought up in the comedy's writers' room.

There are a lot of characters and budding plotlines crowding the "Soul Food" pilot, which give it a disjointed feel at times (It tales a while to sort things out). In addition, the deployment of Ahmad as a sporadic narrator comes off as rather clumsy. ... But "Soul Food" eventually gains traction and becomes thoroughly involving especially by its second episode. [26 Jun 2000]

Unlike the pilot movie, which came across as stilted or even phony in spots, tonight's show is crafted with a smooth blend of action, character development and convincing special effects. [26 Jan 1994, p.3C]

Saturday's opening episode has a frustratingly deliberate pace. But "Outlander" eventually gains traction and becomes good escapist fun with doses of intrigue, suspense and, of course, steamy romance.

Las Vegas has proved to be an entertaining guilty pleasure. Flashy, often trashy and slickly produced, the drama may be fluff, but it's good, sexy fluff with James Caan on hand to provide a bit of gravitas. [13 Sept 2004, p.1C]

There are some bumpy spots in the first two episodes, but "Life" is worth sampling. [7 Oct 2004]

He might want to switch to decaf for future shows. Seriously, though, Colbert did manage to hit plenty of comical high notes on an eventful night that featured actor George Clooney and presidential candidate Jeb Bush as his first guests.

Generally funny, sharply observant and smart in its use of the star and a good supporting cast.

Allegiance does a decent job of propping up its crazy premise with some juicy intrigue and solid performances, though Stenhouse comes off as rather bland.

New Amsterdam is worth keeping an eye on as it develops. It could become consistently engaging television.

As is the case of "Monk'' at its best, ["Psych"] isn't as much about the crime mysteries as it is a vehicle for lighthearted fun.

Entourage is showing its age, but still offers a reliable dose of frat-boy humor and Hollywood-style hilarity. It also continues to be a show where men ride high (in more ways than one).

While it is more intriguing than gripping, the drama has considerable power in its best moments, many of which will come in the last episodes.

It is a great performance [by Mirren], strong enough that it overcomes the flaws of "Elizabeth I."

I suspect that if I were a 10-year-old girl -- which I'm not -- I would love this film... That being said, I can still recommend the movie because, despite some sugary-sweet moments,... [it] isn't condescending to its young target audience and actually has some bite to it.

But as good as it is, it doesn't quite have the originality, unique perspective and subversive sense of humor that mark HBO's "The Sopranos'' (clearly something of a model), "Deadwood'' and "The Wire.''

It's this sense of wonder that sets "Enterprise" apart from the more stodgy Star Trek offerings and injects some much-needed fresh energy into the 35-year-old franchise. [26 Sep 2001]

You'll get hooked on it early and should stick around to the very end -- even though you have a good idea of what's coming.

The best new network sitcom this season.

The series gets off to a reasonably strong start, propelled nicely by some decent (and, for network TV, hard-edged) writing and engaging performances by an above-average cast.

Not everything worked, of course, and anyone expecting Conan to reinvent the wheel or drastically shake up the genre is probably disappointed. But if you were simply glad to see his brand of quirky comedy back in late night--and free of the network guardrails--it was cause for celebration.

With her Texas twang and feisty demeanor, Giddish is instantly engaging, and she and Bishop share a nice on-screen chemistry that make them worth our time. As for the Past Life cases, they are adequately compelling.

The pilot episode isn't a total knockout, coming off as a tad bland and safe. Although Abrams does enough to hold our interest, it feels like he's let up on the gas pedal.

Friday's moody pilot unfolds at a listless pace and, occasionally, gets bogged down in its own density. But in it's favor, there are enough compelling characters and tantalizing questions to keep us engaged for the time being.

What it lacks thus far are the laugh-out-loud oments that made the movie such a joy....That's not to say Parenthood isn't worth a look. Graham, the adorable "Gilmore Girls" alum, rocks the heck out of every scene she's in.

But the feeling here is that Simon may have dipped into his Baltimore crime well one too many times. Tonight's pilot episode, while intriguing in spots, is hampered by a convoluted tangle of multiple plot threads and numerous characters, most of whom seem to have no interesting wrinkles. Worse yet, the story moves at an annoyingly sluggish pace. [1 June 2002, p.4]

If you're a sucker for tangled mysteries--and are in need of a few heebie-jeebies--the show has enough oomph to its early episodes to suck you in.