Homeland has a chance to be a much tighter--and smarter--endeavor with more nuance than "24" ever had. But if a cougar suddenly appears, and/or if someone comes back from the dead, all bets are off.

It is a relentlessly grim (and rather gruesome) episode with none of the bits of humor that mark the other "CSI" shows. [22 Sep 2004]

The Playboy Club isn't in the same league, or even the same galaxy, as the critically adored "Mad Men." While the latter offers nuance and depth and keen insights into its era, the former settles for stock characters, cliches and superficiality, punctuated by a lot of come-hither looks.

Based on first impressions, it's certainly not fall-down funny, but the cast is appealing and the premise promising.

The show does a decent job of setting up its premise, the pace is brisk enough, and there are plenty of visual flourishes, but somehow. it all feels a bit too mechanical. It doesn't help that, with few exceptions, the new characters are pretty juiceless.

It all makes for a scattered, hit-or-miss proposition. Some gags land. Others fall flat.

While the Daniels drama does have some bounce to its step, at least early on, it isn’t as instantly appealing and distinctive as Empire” was.

It's a scattershot approach that ultimately undermines what is admirable about Luck, including some gorgeous photography.

I found enough mesmerizing moments, bits of character and sharp Milch dialogue in the opening episodes that I'll probably stick around to catch a few more waves.

While these [butt-kicking] scenes contain a certain intensity and exhilaration, you can't help but think that, had the writers of Missing devoted as much time to plot and character as they did to the fighting, they might have wound up with a much more enjoyable show.

The cast around Washington is also quite solid, and the show looks and is refreshingly different from a typical procedural. But it also feels a little too slick and superficial, and those gaps in logic may be a problem for some viewers.

So far, though, it has mostly kept its ambition in check, preferring to follow the playbook of a typical crime procedural, with a little more darkness and a little less energy.

This is a show that has its heart in the right place, but is, ironically, pretty mindless.

You get sort of an odd, been-there-done-that feeling when watching the pilot, which contains, to varying degrees, traces of "The Hunger Games," "The Walking Dead," "FlashForward," "Jericho," "Lost" (Elizabeth Mitchell is in the cast) and other dystopian fare.

Based on two preview episodes, Anger Management is at least more interesting than "Two and a Half Men" (take that, Ashton Kutcher). That's certainly not saying much, though.

More occasional eye-rolling ensues over the oh-so-earnest portrayal of Kelly Ann (Imogen Poots), a roadie who has become disillusioned with the state of the music biz. "I have to be a fan of something, or I'm nothing," she moans. On the plus side, Crowe's series does contain a beating heart, and it clearly is brimming with his undying passion for music.

The good news is that Sunday's two-hour opener answers several key questions in relatively rapid fashion and in ways that don't seem totally unreasonable. The bad news is that it also puts Sarah back at square one, and therein lies the problem.

Although the show features strong performances and is piercing in its emotional honesty, it also get bogged down in its own existential angst.

Certainly, Dominic Purcell creates quite a presence as this man of mystery. [20 Sept 2002, p.1]

Until "Carnivale" fulfills more of its promise, my enthusiasm is restrained. [3 Jan 2005]

"Ranch House" is the most ambitious of the "House" projects.

Wu does what he can, bringing a steely authority and mad kick-butt skills to the role. But the show is hampered by too many overly broad characters, genre cliches and the kind of groan-worthy dialogue that leaves one restless.

What we're left with in The Leftovers is a show that, at least early on, is nothing but chaos and dread and bleakness and chill, as it relentlessly delves into the most troubling aspects of human nature.

If it keeps its balance and cuts back on some of the more implausible moments in the first hour, this series could be a keeper.

At its very best, '24' creates an almost tactile sense of tension that no show can match. From one harrowing moment to the next, your pulse races and your skin prickles with apprehension. On the other hand, the show's gimmicky structure forces its writers to keep the plates perpetually spinning, and they often aren't up to the task. [5 Jan 2005]

[There are] moments of pure brilliance--and moments that had me doubled over in mirth.... Unfortunately, there are stretches in this new batch of episodes that feel more flabby than snappy, and there are some lulls that leave you downright fatigued.

A warm, harmless, family-friendly show that offers a few sweetly amusing moments mixed in with the predictable twists. The kids are quite adorable, too.

While it hardly breaks new TV ground or sends off the kind of sparks you want in a first-rate drama, the series has a certain watchable quality to it.

There's just enough punch to it that you'll want to stick around for Hour Two.

The humor in the pilot is anything but razor-sharp: The writers too often confuse coarse language for jokes, and a subplot in which Calvin coaches a Nigerian co-worker on the finer points of the booty call sputters badly. Still, there is promise here, thanks mainly to a collection of intriguing characters. [14 Aug 2005, p.F4]

Judging by the pilot, George Lopez is no laugh riot, but it definitely has its moments, and it's refreshing to find a touch of Mexican-American flavor on TV somewhere other than Showtime and Nickelodeon. [27 Mar 2002, p.D01]

What keeps Jungle from being laughably bad is Shields is so charming and Raver so intelligent in their roles that they carry scenes that should just keel over and die.

For at least the first two episodes, "Jericho'' works better than it should, and there are some striking moments and images.

What I've seen suggests an intriguing show, although there's something so contrived about the series that it makes me more than a bit uneasy.

While lacking the satirical humor of "Housewives" and the edge of "Unit," the show is serviceable in its storytelling, quite well-done in its production and better than well-done in its acting.

It's fast-moving eye candy and that's about it. [12 Jan 1997, p.4]

Shots has some potential. The leads - Michael Vartan ("Alias"), Dylan McDermott ("The Practice"), Joshua Malina ("The West Wing"), Christopher Titus ("Titus")--have chemistry, and there are some funny lines and situations.

The pilot managed to hold my interest for the most part, and I'll credit Hall for bringing a moody allure to the role...Who knows? The show could still flatline over its 13-episode run, but for now it seems to be alive and kicking. [16 June 2002, p.C4]

Strangely engrossing.

Stargate SG-1 is mainstream sci-fi television of the no-brainer genre. Light on intellectual depth and heavy on action, it seems destined to play toward a younger age group than the Star Trek and Babylon 5 sort of science fiction shows. [24 Jul 1997]

"Commander'' looks good, summons up some real energy in key scenes and establishes a certain warmth in its portrayal of the Allen family.

There's not a lot of depth to the proceedings, and the series is at its weakest when it tries to make some Important Point. But it's a good deal of fun watching Meyers and the rest of the ensemble smartly bringing to life the deceit and internal politics of this royal chess match. "The Tudors" is a spicy soap opera, decked out in really fancy trappings.

The series is not great television by any means, but it has a kind of breezy charm and sly wit that make it one of this summer's better new shows.

The show crackles with witty (and jargony) banter and mostly succeeds at making its tech world fun and engaging -- something Randi Zuckerberg's "Start-Up: Silicon Valley" reality series too often failed to do. But the problem with Betas is that it's an uneven endeavor that's just good enough to make you wish it were better.

Some viewers will be riveted to the sex, violence, beautiful nude bods and sensory gluttony of Spartacus: Blood and Sand. Others will be turned off almost instantly.

Surely it will have Palin lovers rushing to plant wet smooches on the screen and all the haters citing it as proof that TV is, indeed, full of dreck.

Hamming it up big time, William H. Macy plays a booze-addled father of six kids in this uneven drama that seems more intent on taking its pay-cable liberties (nudity, profanity, etc.) to the extreme than weaving an engaging story.

Unfortunately, no one pops off the screen the way Farrah once did.

Right now, it's a comedy in search of real laughs. [20 Sept 2002, p.1]

In its early episodes, "American Dad" not only follows the lead of "Family Guy" but also throws in digs at U.S. political institutions. [1 May 2005]

It may be that in the long run, "Heist" proves to be something you can admire simply for its pure entertainment value. But right now, it's a show that looks good on the surface but is empty at the core.

This is a series trying to be fresh but succeeding only in trading on the predictable cliches.

The various parts don't quite hold together, and there are too many rough patches to make Miss Guided an unqualified success. It could get better, although it has just a handful of episodes in which to make that happen.

"Justice" is slick, fast-paced and stylish, with enough twists to separate it from the glut of shows in its genre. But it's also one of the most extraordinarily cynical shows to come along in some time.

The romantic comedy comes off as a rather charming, likable hour, thanks in large measure to a cast that gives it more than a bit of zip.

At least "Watching Ellie" takes some risks and tries something different -- even if the risks don't translate to laughs and the concept doesn't really work. [26 Feb 2002]

Baruchel and Johnson (who is quite appealing in his role) have real chemistry.

Next Thursday's outing is much better [than the pilot], suggesting the series could generate some laughs over the long haul.

As TV science fiction goes, there's nothing particularly bad about this spinoff from the long-running Stargate series. On the other hand, there's nothing particularly good about it either. [15 Jul 2004]

Unfortunately, The Cape fails to fly. Lyons has all the charisma of a fence post, and the leaden scripts bring no fresh twists to the genre.

What's more bothersome about Skins from a critical standpoint is the thin plotting, the aimless narrative, and the generally flat and artificial feel of the production.

The comedy is so darkly cynical that it's off-putting. If you're a glass-half-full kind of guy like me, it's hard to make the show part of your regular TV menu. [13 Sep 2002]

It's an intriguing premise but one that comes off a bit strained in the opening hour and leaves you with the feeling that you have no idea where the show is going.

There's not a lot wrong about "Brian.'' But there's not a lot right about it, either.

Very little of it feels fresh or funny. Nor does Allen's character strike me as someone viewers would want to spend a great deal of time with.

Tonight's opening episode is somewhat better than the pilot, although it's clear there is still work to be done in defining the characters and setting an overall tone.

It could develop (its creator is Bruce McCulloch from "Kids in the Hall"), but right now, it's only so-so.

There are lots of problems with the Special Victims premiere, chief among them being the focus on Olivia Benson, the female detective played by Mariska Hargitay. In a misguided rush to establish the character's background story and motivation as a cop, the episode's key moment is a revelation about an intimate detail of her life. It comes way before we have enough reason to care about her. [20 Sept 1999, p.7C]

This is by no means a lousy show. The performances are solid and the brothers-working-together dynamic is intriguing. But the pilot lacked dramatic oomph, and it did a poor job of actually taking viewers inside the math and explaining how it works. Consequently, "Numb3rs" just doesn't add up. [22 Jan 2005]

The problem is there's nothing here that hasn't been done before, and often done better. Even more disheartening: The cast, which includes Matt Long and Billy Zane, is stocked with forgettable and/or boorish characters.

$#*! My Dad Says feels hopelessly old school. It relies on a stock sitcom character--the crabby dad--that we've seen over and over. It mainly anchors itself to a claustrophobic sitcom-y living room, and it relies too heavily on a tired, rat-a-tat setup/punchline delivery.

Could prove to be a hit without being very good. [20 Sept 2002, p.1]

There's nothing particularly awful... But there's nothing particularly right about it either, and laughs are spotty at best.

All Cane has going for it now is the cast. In tonight's opening episode, the tone is all over the place

The good news is that Crisis eventually gains a bit of traction in its stretch run, but it’s much too late by then.

1) It's not all that funny, which could be a problem considering it's supposed to be a comedy, and 2) It continues a rather arrogant presumption on the part of show-biz types that we're all ceaselessly interested in the inner workings of their industry. [4 June 2005, p.C01]

Side Order has the most problems. While there are enough appealing moments in Sunday's opening episode to leave viewers with an initial warm and fuzzy feeling, the show simply doesn't stand up to much scrutiny.

The upside to the series is that Diggs is good enough and the production slick enough that, for a while, you might be willing to play along the don't-think-too-hard-about-it premise.... [But] Hopper's day becomes pretty boring after a while.

Unfortunately, what hasn't changed is that this comedy about the life of a neurotic nightclub singer simply isn't very funny. [14 Apr 2004]

It's just sort of an underwritten mess.

It has its moments, particularly as it progresses.

There's nothing particularly fresh about the visual approach, the writing is only serviceable and the plotlines -- a pregnancy, a drunken-driving accident, love found and lost -- are straight out of TV Writing 101.

With her winning smile, Southern twang and a tough-but-tender demeanor, Giddish makes for an instantly appealing lead. Unfortunately, she's about the only thing going for Chase, which is hampered by an unimaginative script.

It's a rip-off (and not a particularly well-executed one) of ABC's "Dancing With the Stars."

When he gets a lot of air time and his worst excesses are not reined in, Morgan is the human equivalent of fingernails on a blackboard.... As a result, what could have been a rather savory dish ends up with a rather unpleasant aftertaste.

A pedestrian, predictable crime procedural.

In desperately straining to be so uncommonly edgy, so explicit and so provocative in its sexual candor, the show all but tramples its dramatic structure in the process. [3 Dec 2000, p.C05]

The stars (Trista Sutter, John O'Hurley and Joey McIntyre, et al.) are strictly marginal. The host (Tom Bergeron) is excruciatingly lame. And the dancing is only sporadically scintillating. [26 Jun 2005]

Corddry manages to make scenes work that otherwise would have viewers reaching for the remote.

Malibu Country is so old school, in fact, that it feels like a leftover from ABC's TGIF days, complete with a studio audience, an irritating laugh track and a sitcomy march-time pace.

"Free Ride" is crude, mean-spirited, and not nearly as fresh and innovative as the producers think it is.

Although the first episode runs for a bloated 90 minutes, it provides only scant hints of a main plot thread.... So once again, I'm confronted with an AHS season that appears to be more gross than engrossing. Alas, I may not be able to check out of the Hotel Cortez, but at least I can change the channel.

As hard as Tucci tries -- and he tries very hard -- he can't make Dr. Doug Hanson into Dr. Gregory House. It's not his fault; the writers simply don't give him the dialogue and depth that Hugh Laurie gets to play with on "House.''

Much of Tarzan feels more like a marketing strategy than a show, and it seems to have a few flaws that "Smallville" doesn't. Chief among them is the incoherent plotline, which, in the pilot at least, does little to explain the motivations of Pileggi's character. [4 Oct 2003, p.D01]

It doesn't work, largely because there's not enough wit from creator and star Louis C.K. to make the vulgarity anything more than an exercise in blue.

While you have to give them credit for trying something at least a little different, the creators and cast try way too hard to pull laughs out of the situation and the show comes off as forced and unbelievable.

Baum's work almost collapses under the weight of a misguided re-interpretation.

Anything remotely resembling complexity and nuance has been sacrificed to cramming six decades of history into two hours of airtime, minus commercials.