Final Witness has more texture and bite than most of TV's myriad explorations of the true crime realm.

The star of this ill-conceived show, which also features former congressional policy advisor Matt Stoller as a very uncomfy foil, completely fails to get untracked from halting start to grinding finish.

FX sent the first five half-hours for review, and they're all gems.

They're [the initial episodes of Anger Management are] somewhat more amusing than expected.

Nothing really jells here.

Through the first four episodes, Sorkin teeters between abject fantasy and believable fiction. Strong performances by Daniels, Waterston and Mortimer serve to offset some of Newsroom's excesses and missteps.

Cedric the Entertainer, Nash and Beasley go with this flow--and flow pretty well.

Life's A Tripp in reality is nothing more than another Lifetime stumble.

Falling Skies holds few if any surprises, although its action scenes and impressively designed creatures still have pulling power.

So hard-hitting it's not.

TNT's brighter, shinier Dallas makes an impressively staged re-entrance Wednesday night.

Its characters are comparatively compelling even when they're falling a little short.

The Choice already is bad enough but has a few amusing moments to help keep it afloat.

Longmire, with spacious New Mexico standing in for Wyoming as the series' production base, makes a solid overall first impression without rising to the level of critical huzzahs.

It shows only scant signs of life while also failing to be all that revealing about the unique profession it depicts.

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

Authentically grimy, solidly built and well-paced, Hatfields & McCoys is violent without being gratuitous.

You might not want to have a TV relationship with these guys either. They're just not much fun on any level.

In the grand USA scheme of things, it's pretty much same old, same old. But that's still a workable recipe.

The fun is in the snappy dialogue and the impeccable actors delivering it.

Some interesting conversation does seep through, though, as part of what the host terms "the universal language of women."

A decidedly bland and tedious weekly series in which couples attempt to mend their frayed relationships by doing it for a full week.

In the annals of all-time worst game shows, this one takes its rightful place alongside ABC's Conveyor Belt of Love, which soiled prime-time back in January 2010.

On the surface at least, it's hard to imagine responding to CW's three-pronged tagline attack of "Small fish. Big pond. Huge dreams." Wonder of wonders, though, this series sells its premise while only occasionally trying way too hard.

Veep has some funny lines and sight gags during the course of doing its dirty Washington business.

It's a distinctive, signature series from a decidedly singular voice.

In short, nothing really jumps off the screen here.

Principally armed with Ritter and Van Der Beek, [series' creator/executive producer/writer, Nahnatchka Khan] makes Don't Trust the B a find if not a treasure just yet.