HBO’s six-part Mosaic, also available as an “interactive movie” on mobile apps, begins as an immersive spellbinder before eventually plodding to the finish line under its own diminishing power. Accomplished director Steven Soderbergh (Ocean’s Eleven and its two sequels, Traffic, Erin Brockovich) does succeed, though, in resuscitating the acting career of Sharon Stone, who gives a bravura performance until her character suddenly goes missing.

The Catch takes a while to kick in, afflicting viewers with way too much of Pitbull’s “Fireball” during an extended early game of now-you-see-me-now-you-don’t.

The Mayor can be preachy and predictable, but is also spirited and reasonably amusing in this opening scene-setter. Hall brings considerable charisma to the lead role and Brown supplies the needed anchoring presence. Michele, the former Glee star, still seems to be finding her way, though, in a role that at the moment doesn’t really fit her.

Those who have devoured the swervy, same-named Douglas Adams books could very well find themselves immensely entertained. Those who haven’t--guilty as charged--at least can admire the energy, cheekiness and slick production values without caring all that much how everything comes out.

For now, Levy is an OK mix of insolence and vulnerability, Hines is her usual hoot and Sisto shows signs of being nimble on his feet in an arena where he's still learning the ropes.

The mood music in Crisis can be over-wrought at times--and downright over-bearing when a male vocalist breaks into “Sometimes I Feel Like a Motherless Child.” But the first two hours are nicely paced and eventful, with the ad hoc partnership between Marcus and an initially resistant Susie gaining traction as the stakes increase.

The script and circumstances really labor down the stretch. Still, Tenney and Romijn make for a pretty nifty pair, whether quipping on cue or subduing some henchmen with their feet and fists.

Arrow may not be a-point-ment television. But for starters at least, it's a sharper little tale than expected.

It all makes for a nice enough start to a comedy that already appears to have a pretty happy ending in the bank after just the first episode.

All in all, this is a light-hearted series that also looks as though it's going to be light-headed in terms of basic story construction.

A Very Murray Christmas is as uneven as a child’s first effort to build and frost a gingerbread house. It’s also different, which sometimes works in its favor.

Latifah and Rainey can sure sing out, though. It’s a pleasure to watch and hear them wail in a film that otherwise doesn’t quite cut it.

The first two episodes flex a fair amount of pulling power, even though nothing really jumps off the page. The series could use a more galvanizing, take-charge sleuth than Epps portrays.

Gummer's a gamer, investing her lead character with smarts, compassion and no small amount of discombobulation. She injects the ordinary with her own unique prescription brand pick-me-ups, making Emily Owens bearable when it's not fully embraceable.

One can appreciate Adams’ performance, though, without buying into the overall endurance test required by Sharp Objects.

Despite its flaws, 11.22.63 ends up closing the deal in a way that for the most part makes it a long, strange time travel worth taking.

Charming and disarming without yet being exceptional, NBC’s breezy A to Z nonetheless comfortably wins this season’s boy-meets-girl bout against ABC’s similarly themed Manhattan Love Story.

True believers who have devoured most if not all of the 208 previous episodes likely will find it thrilling simply to be strung along anew. Those of us who have been less dedicated to the cause perhaps can be more forgiving of the show’s loopy transgressions.

In the end, all of this may amount to little more than a one-trick dog and pony show. But Gann can be irresistibly gross at times while Wood is good at being hapless. Together they sometimes make quite a comedy team. Almost as good as Turner & Hooch.

Those who swoon at the name Marvel are likely to be entertained anew by a short-run series that pushes all those familiar buttons before the next feature film attraction kicks in with bigger stars, bolder visuals, better battles and a tease for the next one.

It’s not always an optimum blend of merriment and miscreants. Still, The Moodys earns its candy cane stripes as a Christmas mini-series with bite.

All in all it's a pretty deft mix of violence, pathos and ethos via a vampire, a werewolf and a ghost as roomies.

Goodwin Games isn’t an Olympian comedy but it’s by no means an out-and-out clunker either.

Although its super-bleak future is nothing new, Incorporated does an above-average job of bringing it all home.

It’s a reasonably involving series made better by the chemistry between the two leads.

Chicago Justice, which some also see as something of a lightly camouflaged Law & Order reboot, gives NBC another steady hand that’s also no great shakes. But it’ll do, and Wolf very likely has more where it came from.

There are ample interesting ingredients here. But two subsequent episodes--Fox for some reason hasn’t provided the second one--are comparably hit and miss.

Go On obviously won't be off the charts ratings-wise, as Friends was for most of its run. It might settle in, though, with Perry still a solidly capable comedic actor looking to nest a while.