What we have so far is a sturdy cops/crooks/corruption series that falls short of The Shield but is certainly capable of someday earning its own stripes.

His [Kelsey Grammer's] center-ring performance pulls Boss along even when it gets bogged down. The supporting actors likewise are all capable, although Grammer's glower clearly is the series' tower of power.

The Knick towers above previous original dramas Strike Back and Banshee, giving Cinemax a gold star on an increasingly crowded boulevard of bravura television.

Pose is praiseworthy in terms of its unique diversity and overall style. The ball competitions, which are frequent, could well be a show in themselves. ... But man, Pose also can be cloying at times while also being as broad as, well, Dynasty with both its story telling and some of the acting.

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.

Fresh Off the Boat paddles hard in its efforts to be an amusing comedy with heart. So far, the parents--not the featured kid--are the primary reasons to watch.

You should give Luck a chance to slowly pay off. It proudly depicts a gritty/picturesque world that the ABC Family channel's Wildfire only airbrushed during its 2005-08 run.

For now, Season 5 is proof that Downton Abbey remains in possession of a strong pulse and story lines. It minds its manners--and its stately manors--while keeping its characters vital and vulnerable.

Its two featured newcomers skid along just fine, earning exceedingly small victories en route.

Showtime’s taut and pretty terrific Ray Donovan.... Schreiber brings a solid, stolid presence to the role. But it’s Jon Voight as Mickey who gives this drama its ferocious, dangerous and sometimes creepy edge.

Despite the hardly surprising plotting, Vida excels as a series with a notably different look and feel.

As concocted backwoods “reality” shows go, it’s stepped to the head of the class and far surpassed the likes of TLC’s Here Comes Honey Boo Boo and Buck Wild.

Big Little Lies isn’t stitched tightly enough to be a truly great miniseries.

As always, though, it’s all in the execution. And Supergirl’s plucky central character, very winningly played by Benoist, looks good to go for this season and beyond.

Buoyed by a bravura performance from Australian Ben Mendelsohn (The Dark Knight Rises) as prodigal son Danny Rayburn, Bloodline is an absorbing, fractious family drama that captivates despite giving away Season 1’s major development in the very first hour.

Ash vs Evil Dead succeeds by merrily and seemingly effortlessly making a mess of things. The biggest budget consideration might be the cleanup bills. But the mayhem is never cringe-worthy and the heroics can be a riot... You’re gonna have a blast.

Season Two has only just begun its twists and turns. But so far, so good, with ample possibilities still in play while Harry’s head tries to stay in the game.

It packs some punch, though. And Isaacs certainly doesn't sleepwalker through a decidedly distinctive role.

Underground occasionally clunks through these proceedings but usually not for too long. Vivid, strong performances by Hodge and Meloni help to keep the story on its toes while the producers effectively recreate a pivotal period just four years shy of the four-year war pitting North against South.

Potentially the best new comedy series of this season.

Living in the Material World falls short of Scorsese's terrific two-part PBS film, No Direction Home: Bob Dylan.

Wild Things is very nicely shot and buoyed throughout by its star's upbeat persona.

It's HBO's most mature half-hour series ever, rising above the material worlds of Sex and the City and Entourage to offer a road worth taking in pursuit of a "higher self."

CW is just a little network trying to make some noise. It makes more headway with iZombie, a “cute” but never cloying show centered on brainy brain-eaters and their present-day dilemmas.

Looming Tower, for which author Wright is a co-executive producer, is visceral and fully engaging in its best moments, but also head-hurting with some of its efforts to diagram the myriad goings-on abroad. By the end of Episode 3, however, the story has gotten a firmer grip.

Gregg’s resurrected Coulson so far is the much-needed glue, lending a familiar presence and sturdy countenance.

The Blacklist is watchable but patently unbelievable and increasingly unpalatable.

Its downward slide shows signs of leveling off by the end of Sunday’s opening two hours. Danes’ Carrie is steelier than ever, her heart hardened to near-concrete while going about the exhilarating business of eliminating terrorists no matter what the collateral damage.