If you watch Hannibal, it's likely to stay with you for days. Despite the darkness at the heart of it, that's a good thing this time around.

Sure, it's not particularly deep and has some pacing issues, but it's a generally watchable, well-acted effort.

The diverting and enjoyable Terriers occupies a different stylistic territory, but there's a noir strain underneath its shaggy exterior. As the best detective stories do, it features a smart, flawed lead character who is too stubborn and inquisitive for his own good.

The Hour has some pacing issues--there are sludgy patches that could use a bit more zip and energy--but overall, the show creates a delectable, specific world that's very easy to glide into and inhabit.

When We Rise doesn’t pick up a story at its beginning and doesn’t leave a story with an ending. What it delivers is a game-changing saga from the middle.

Going by the first two hours, this new incarnation of the show exactly as 24-ish as you'd want it to be.

It moves along with purpose and energy, but it's often at its best when finding colorful details and or allowing small, telling moments to breathe.

A taut, enjoyable second season.

There are some bumps in the road as the show lays out its premise, but Supergirl has a number of things going for it: Melissa Benoist is convincing and charming in the lead role; the supporting cast, which features the likes of Calista Flockhart, Chyler Leigh, Mehcad Brooks and David Harewood, is very good; and the leaders of the writing team behind it.

Mismatched cops forced to work together is one of the oldest TV tropes in the book, but The Bridge builds such a realistic, detailed world around the detectives here that the dynamic is often fresh.

Brooklyn Nine-Nine has a genial, pleasing loopiness and very solid work from an intelligently assembled cast.

Your investment in the many stories spun out by creator Julian Fellowes may take longer to develop this year, because the costume drama's pace is off in the early going and it's far more contrived and inconsistent than it was in its first season.

This amiable, entertaining show isn't trying to change the world or strain the boundaries of scripted television, and that's just fine.

The Leftovers is interesting television, even if, in the early going, it's not quite sure of what it wants to be or where it wants to go.

The good aspects of this show are engaging and Misfits is a damn sight more consistent than the most spectacular fail in this genre, "Heroes."

The parts that do work possess the doom-laden yet strangely optimistic romanticism of Milch's best work.

It would be a mistake to count this scruffy little comedy out. It's really charming.

I found Free Agents more than tolerable, and there's potential in the office ensemble that surrounds these two characters (though I wouldn't mind if the super-sass of Natasha Leggero's assistant character was toned down a bit).

Applegate and Will Arnett, who plays her husband, Chris, are very good, which is no surprise. It's nice to see Arnett playing something other than an emotionally stunted man-child, and if the pilot for Up All Night didn't make me guffaw all that much, it passed by pleasantly and it was good to see that creator Emily Spivey was able to wring comedy from the new-parent situation without using the same dozen baby jokes we've all seen 200 times before.

The good news is this modest show already has a number of things in its favor: Its pace is bracing, the choices are difficult and the danger the characters face is real.

The Secret Circle does exactly what you expect it to do, yet that efficiency ends up being refreshing rather than maddening.

It takes a bit longer than it should for the viewer to assemble a working knowledge of the show's core mystery, and there are some tonal issues (some attempts at jokey moments are a bit jarring), but overall, Orphan Black is a quite watchable thriller that plunges its heroine into a murky world that almost seems designed to drive her mad.

All things considered, though, this is a show that is pretty firmly fixed on what it does best--serving up soapy, Texas-sized shenanigans and trying to mix in a little seasoning of real emotion along the way.

This small gem of a film manages to be a finely drawn character piece and a searching exploration of what powerful people will (and won't) do to keep their countries safe, and it provides some great actors with meaty roles along the way.

The performances are nuanced and subtle.... Bakula's presence and air of experience add weight and depth to a show that occasionally seems too slight for its ambitions.

In the two episodes NBC sent for review, Port and Guarascio are respectful to what came before--possibly too respectful, but the desire to not rock the boat is understandable.

While it's no "Closer," the Eric McCormack vehicle Perception is perfectly adequate "Eccentric Consulting Genius" fare.

Thought-provoking and melancholy, like all good F. Scott Fitzgerald stories, The Last Tycoon delivers a good summer watch. ... All this said, The Last Tycoon has taken some critical heat, and not without cause. It has several unsparkling passages and weak spots.