Expect nothing new under the sun from a drama set in San Antonio, filmed in New Mexico and falling flat wherever the cameras might roll.

For his first Monday night face-off against those two dramas, Holloway strips down to a glistening muscular torso while taking out his frustrations on a heavy boxing bag. But any visual stimulus is countered by Helgenberger’s continued struggles with the clunky lines given her.

PBS made all but the final two hours of Season 4 available for review. And while certainly not a slog, they end up being more than a bit saggy.... ownton Abbey has no scenes or sequences of knockout import during these first seven episodes.

The Assets just can’t get untracked, lumbering through its first two hours without any sense of purpose, style or urgency.

Rodeo Girls so far has stopped short of giving its stars and their story lines enough rope to hang themselves. Instead It manages to jingle jangle jingle its way toward an overall entertaining first hour of animal desires occasionally played out on horseback.

This elongated version makes its own mark, although certainly not an indelible one.

Mob City at best is barely above average drama from a guy who presumably is still capable of far better. Boardwalk Empire it’s not. Not by a long shot -- or even a rat-a-tat-tat.

Alley, Perlman and Richards were far more gainfully employed on their previous classic comedy series. Now they’re in a sense doing dinner theater in Yuma but seemingly having a good time together nonetheless.

In the end, though, justice is served. Although with Bruckheimer, the serving spoon again tends to be a sledgehammer.

Their all-that activities become redundant and tiresome at WARP speed, raising the overall question of whether watching Ja’mie: Private School Girl on a continuous loop would be worse than eternal burning in hell.

The Kennex-Dorian combo is the best part of Almost Human, which otherwise keeps twisting and turning itself into a series of unwieldy plot knots.

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.

Parents of kiddoes, tweens and young teens can be assured that all of this is quite harmless.

Stuffed with stilted actor re-enactments--and repeated shots of a mock John F. Kennedy corpse with its skull blown open--Smoking Gun basically regurgitates the 1992 book Mortal Error and its conclusion that a Secret Service agent accidentally fired the third and fatal shot.

Time of Death breathes new life into a handful who chose otherwise. And with this series, they also chose pretty wisely.

Seduced and Abandoned doesn’t always stay on track, but nonetheless never derails. It’s both a romp and a stomp, with Cannes the go-between.

A show that again shows us what we already know. Politicians are a collective group of crooks who very seldom get what they deserve.

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

The story has ample pulling power. But the music is its driving force--all day and all of the night.

This is a frothy, giggly, historically silly, pop tune-themed trifle, with mid-16th century France as its backdrop.

It’s a film that asks a lot from West and Bonham Carter, who deliver time and again in roles that could have eaten them alive. Instead we feast.

Once Upon A Time In Wonderland is very nice to look at, particularly in homes that have upgraded from rabbit ears. Its speaking parts, though, are sometimes better heard at low volume.

There’s enough set in motion here to perhaps lure a small, loyal audience from week to week.

Witches of East End is just not worth a viewer’s toils and troubles.

Welcome to the Family is a passable half-hour that fends for itself without a laugh track and manages to deliver a few un-goosed grins.

There are a lot of moving parts and agendas here, but The Originals does a pretty good job of stitching them all together by the end of its first hour.

For better or worse, Sean Saves the World is exactly what he wants it to be--an old school, joke-loaded, histrionic showcase for himself.

There’s plenty to sustain The Millers over what could be a pretty long haul. The show has both star quality and stars who know how to work the material.