It has the makings of a damned fine weekly hour of good vs. evil, with Quaid against Chiklis as the crowd-pleasing main event.

The Mindy Project is a minor disappointment in light of all the accomplished guest stars populating its opening half-hour.

Urie's mostly a hoot, with his inflections infectious and his comedy timing a thing of beauty. Krumholtz offers sturdy enough support, but his co-star does most of the heavy lifting.

Ben and Kate can be a bit grating and certainly isn't all together great. But its small ensemble--which also includes Ben's pal, Tommy (Echo Kellum)--is clicking pretty well for starters.

Although Buscemi remains firmly in charge of this lead role, he's not the most interesting principal anymore. That pendulum swings to his wife of convenience, Margaret Schoeder (Kelly Macdonald).

Mob Doctor is one of those classically bad concepts that somehow got green-lighted as a series.

Unfortunately, Bomb Girls is affixed with an oft-overwrought and at times just plain clunky script.

Revolution, which has the overall look and feel of a big budget feature, delivers some consistently terrific action scenes.

Guys with Kids is over-populated, under-funny and no match for the simple charms of Three Men and a Baby, the surprise mega-hit of 1987.

For now, it's a disappointing polemic that mainly offends by being lazily or awkwardly executed more often than not.

Plodding and stupefying when it's not being laughable and poorly acted, this is entertainment fit for an alternative to water-boarding.

In the end, it's all very disposable.

Whatever your religious beliefs--or lack thereof--The American Bible Challenge is good for the soul. It's also the best new game show in years.

The Inbetweeners seems to be experiencing the growing pains of its principal characters. A better start would have been preferable, but at least the show's weekly slings and arrows are pointing upward.

It's both a promising and foreboding series, with class warfare an ever-present force that wants no part of any idealized forms of truth, justice and the American way.

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.

Viewers get to see what they've all got and what some of it is worth. Which continues to be addictive viewing in itself as the hoarder, pawn shop and abandoned storage unit shows just keep piling up.

Although its title is needlessly sub-juvenile, Oh Sit! does manage to be stupidly entertaining during its small handful of best moments.

[The show] results in a picturesque endeavor that otherwise suffers from a lot of padded redundancy.

Hotel Hell is every bit as watchable--in a morbidly fascinating way--as his other Fox crock pots.

Major Crimes has the makings of a very sturdy reboot outfitted with a built-in philosophical debate over how justice is served. Supporting characters are newly invigorated, particularly Bailey's Provenza.

Kirk just doesn't click in the lead role. Nor do most of the words he's given.

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.

Filmmaker Timothy Greenfield-Sanders (The Black List, The Latino List) might have done well to just keep the camera on [Carmen Dell'Orefice] and let everyone else hit the cutting room floor. But other former supermodels are quite interesting as well, among them Isabella Rossellini, Jerry Hall, Paulina Porizkova, Carol Alt, China Machado, Marisa Berenson and Lisa Taylor.

3 rises above the genre's usually tawdry trappings, even if the opening episode is more than a bit static.

Sullivan & Son is utterly artless in its efforts to be an equal opportunity offender.

Gilligan and company keep on pushing Breaking Bad to new highs.

Sunday's 90-minute premiere makes for an unintended hoot, both ridiculous and often ridiculously watchable.