P.D.'s also loud--the percussive soundtrack is headache-inducing--formulaic and predictable, not at all like "The Shield."

Believe it or not, the comedy’s not crass enough to really generate the laughs it should.

Like “True Blood,” the cheese factor is high here, but that’s what made the HBO series so fun.

The pace is fast and furious, as usual. It’s just happening this time without Jack Bauer.

It's more video game, than TV drama.

There’s a third storyline involving a cow. Really, I’m not kidding. These, I’m guessing will come together, at some point, but I’m not sure I’ll be willing to wait that long for the payoff.

Ellis is charming, but this nothing more than another buddy cop procedural.

It’s mildly amusing.

The story’s fine. It’s just filled with a bunch of overacting and poorly orchestrated scenes.

It’s poorly written with a bunch of things happening in the pilot that just don’t make sense.

The pilot had more holes than a piece of Swiss cheese.

Some of the stuff raises an eyebrow, but, heck, the original was that way, too. That was part of the fun. Prison Break was always a guilty pleasure. It remains so for the second go-round.

Kazinsky is bland. As is the seen-it-before strained relationship between him and his “son,” an FBI agent played by Tim DeKay. The strange dynamic between twin brother and sister, however, is the reason I will give it a second chance.

Dominion is dark, and the angels portrayed here are scary--not the heavenly do-gooders we’ve come to know them as through other media. Based on the pilot episode, good has a long way to go before it can overcome evil--if that’s even possible.

This one is intended for adults that, if it was a film, it would carry a PG-13 rating. It’s gritty and violent. And also visually spectacular.

The pilot is mildly amusing. Neither Foo, nor Hires, is as engaging as Tucker and Chan, and the chemistry between them is lacking.

If you like “Family Guy’s” crude, lewd and offensive humor, you’ll love this one. I lasted 15 minutes.

The first episode is a white-knuckle ride.

Schwimmer and Sturgess are so darn good in their roles you forgive the writers. Schwimmer, for instance, uses those sad, puppy dog eyes of his to play up his grief, and Sturgess really has the charming cad thing down. They really cook up some chemistry in the scenes with just them.

This procedural revolves around their predictable relationship.

The pilot is rough, with much of the humor dealing with sex and male genitalia, which seems like something you would find in a Seth McFarlane show.

Procedurals work well when viewers like the characters, e.g., Mark Harmon on “NCIS” or Mariska Hargitay on “Law & Order: SVU.” It’s hard not to like Arquette, Van Der Beek and the other cast members on Cyber.

We not only see how those stories [of her patients] play out, but how Black’s story does, too. We see how her ailment affects her relationships with her boyfriend (David Ajala) and her family, and what little control she has over her life.

The comedy comes off as a less funny “Modern Family,” with the daughters uncannily similar (one’s dim and fashionable; the other is smart and geeky) to the “MF” girls.

Watch this one just for Zahn’s performance.

The joy here is watching Grammer and Lawrence trade barbs (and there are a bunch of them).

The new sitcom is formulaic, with one joke following another punctuated by a laugh track--even when the jokes aren’t funny, and many of them are not.

Where Robinson excels are in the scenes with him leading his funk band.... The series, however, sticks too much to the sitcom formula, telling 22-minute stories that are all too predictable.