The Bridge so far looks to have more promise than [Fox’s The Following, NBC’s Hannibal, AMC’s ongoing Season 3 of The Killing]. It’s still early, though.

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.

The end result isn’t a very good biopic and certainly not a noble one.

Under the Dome parlays solid special effects and an intriguing storyline, giving CBS’ a bracing breeze of fresh air during a summer season that previously has been a playground for Big Brother and “procedural” crime series reruns.

After a pretty clumsy start, DM does start to find itself amid a whirl of characters populating not one, not two, but five households.

Maybe this will prove to be a bit more interesting as the contestants dwindle. But based on Sunday night’s premiere, that seems like a long slog toward the show’s eventual payoff.

Crossing Lines isn’t breezy enough for a summer diversion. Instead it’s ponderous, pretentious and too predictable.

By the end of Episode 1, Twisted has imbedded its hook with open questions about a mysterious necklace and Danny’s connection to its past.

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.

Graceland is nothing to get all shook up about.

It’s all cut and spliced to the point where any real “jeopardy” involved is anyone’s guess. The weekly competitions on Survivor are far more convincingly presented.

Overall impression: look for them [the episodes] to get better, stronger and funnier.

The scripts are serviceable, although some lines land with a Richter Scale thud.

That initial heat from Season 1 has been lowered to room temperature. Kinnaman continues to give The Killing a pulse. But he can’t do it alone, and at this point merits a new, more vital vehicle in which he can really gun his engines.

Douglas, Damon and company put on a crowd-pleaser that even Liberace couldn’t top during all those many-splendored stage performances. A film that could have been so very bad turns out to be pretty mah-velous.

Sometimes they’re [TV networks are] still smart enough to know when they have a stinker.

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

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

Potentially the best new comedy series of this season.

Dear Mom, Love Cher is both a pleasant and evocative way to spend an hour.

Maron, 49, seems to be effortlessly gliding through his angst, laughing only rarely while giving viewers far more reason to do so.

It’s a grindingly bad half-hour with some even worse finishing touches.

Hemlock Grove overall falls well short of anything resembling sustained brilliance. Still, each episode may well push just enough buttons to pull you along to the next one.

Although its principal supporting players are first-rate, Rectify would be lost in transition without Young’s stellar work in the lead role. It’s a fearless, fully immersed, Emmy caliber performance tinged with sadness, searching, primitive pleasures and even a little comedy.

HBO subscribers thereby are the beneficiaries of a film with star power and staying power. It won’t surprise you with its outcome--or for the most part, how it gets there. But it may well have more of an impact than anticipated.

Louis C.K. shoots from the lip and keeps scoring. The beauty is the seeming ease with which he does this. And the knowledge of how hard it really is.

The ripping good special effects of Syfy’s Defiance harken to Fox’s recently failed and likewise futuristic Terra Nova, which also popped the eyes. In each case, the bigger your DVD screen, the better. Another shared trait: the scripts and story lines tend to be cliche-heavy and sense-dulling predictable.

Da Vinci’s Demons halfway succeeds on the strength of its vigorous, devil-may-care approach, even if it’s also almost thoroughly preposterous in terms of the central character’s deductive powers and abilities.