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.

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.

[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.

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

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]

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.

The show is a tour de farce for Warburton, who has the commanding gusto of a superhero and the deadpan style so appropriate for the material. [8 Nov 2001, p.D01]

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.

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 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]

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

Through it all, Bloodline sucks you in and keeps your nerves in a vise.

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.

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.

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.

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

The Missing, an eight-hour thriller coming to Starz on Saturday, is so tantalizing and haunting that it qualifies as a must-see, even for viewers who might be suffering from serial crime fatigue.

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.

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.

An emotionally powerful dramedy.

So far. so good.

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]

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]

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

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

"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]

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.