We get three long hauls that mostly test a viewer’s endurance. The performances aren’t at fault, but the stories themselves easily could be trimmed to an hour apiece or less. Left free to indulge himself, Weiner gorges too much on empty calories.

There’s possibly some potential here. But the only episode of Schooled made available for review neither rings the bell--or answers it.

Blunt Talk’s overall absurdity at times over-reaches and grabs viewers too hard by the throat. Still, its excesses are offset by enough inspired lunacy to carry the day.

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.

Broader than Dallas at its broadest, ABC's GCB won't be selling smart, stylized urban sophistication when it premieres Sunday night.

Killing Kennedy easily could have been twice its length, the better to add both nuance and context. Instead it’s a watchable film with many missing parts, a broadly drawn Classics Illustrated version of what happened and why.

There's nothing to get outraged about, unless you want to rail against substandard comedy.

Carpenter and Chestnut solidly play their roles, but Enemy Within doesn’t crackle the way The Blacklist did in early episodes. There’s nothing particularly special going on here, and it’s hard to muster the enthusiasm to say much more than that.

It's obviously not for the squeamish, nor perhaps for the refined. But it's al-i-i-i-i-i-ve in so many ways. So what the hell, let's rock.

Darkly shot and dimly plotted, the premiere episode never comes close to firming its grip. It instead plods and meanders, inviting viewers to invest elsewhere rather than buy into this poorly put-together jumble of something or other.

It's the strongest medical series since House arrived on Fox for an eight-season run that ended last spring. The genre badly needs a transfusion. And at last, here's a strong one.

I Feel Bad has appealing leads in the two younger parents, but is still trying to find a solid footing for itself amid some amusing moments now and then. The workplace segments take up too much of the show without rising above being a minor annoyance. And the domestic tribulations have a shopworn feel.

It all ends in thoroughly predictable fashion--and without any zip or pop.

So hard-hitting it's not.

The Art of More is high on production values but low on basic believability with its discombobulated tale of two very amoral New York art auction houses.

The first five episodes of Dracula, although unwieldy and murky at times, flex just enough storytelling power to keep the juices flowing.

There’s a lot of gibberish and meandering accompanying the visceral bloodshed. The palace intrigues aren’t all that interesting.

A.D. for the most part has a fairly solid script.

Grimm is buoyed by some decent special effects and snarky wolfman Monroe, who will be a series regular. But it's not nearly as imaginative, involving or picturesque as ABC's fairy tale offering, Once Upon A Time.

Garner convincingly captures the ill-fated, love-craving blonde bombshell while Sarandon summons up more than a one-note character and Morgan brings DiMaggio back to prideful, brutish life.

Don’t expect to take any ha-ha showers. Marlon isn’t up to that task either. Instead it over-blows everything in service to a star who doesn’t know how or when to stop.

Zoo very much spares the gore in its less than scintillating but better than lackluster opening hour.

Episode One is well-made and poses many more questions than answers. But you know the drill.

Viewers in a sense are going to another carnival freak show.

What's supposed to be a taut and many-splendored mythical yarn in league with Heroes instead registers as a topsy turvy laughable feast complete with chapter titles.

The opening hour ends with an unexpected, big boom of a cliffhanger designed to bring viewers back for more. In that it’s unique. Otherwise The Brave is broad-stroked and pro forma in highly volatile times both at home and abroad.

CBS for the most part still clings to over-active laugh tracks and broadly played scenes and situations. Still, this is a nicely clicking ensemble that gets sharper as the show goes on.

Despite some shortcomings, Hemingway & Gellhorn rates as time and money well-spent.