If you value your time, you'll change the channel after "Modern Family."

Where the show stumbles a little is in the case itself.

The pilot shows promise, especially seeing the chemistry between (at least three of) the leads, but Episode 2 treads no new sitcom ground.

A cool premise can only take a show so far, and there's some work to do on the character front to make the show worthy of using all available technology not to miss.

The show feels like it should be better.

This heartwarming show just might become the sitcom success NBC so desperately needs.

Now that finished episodes are out there, we can tell you that it's not great.

The new Dallas isn't a game-changer, but it's a solidly built, easy-to-take soap that does right by its predecessor.

Four episodes in, and Girls is still packing tons of jaw-dropping, head-shaking, eyebrow-raising scenes into 30 minutes each Sunday night.

Veep is a show, though, that finds great comedy in the space between that idealism and the reality they face every day.

The show is pretty much a by-the-numbers cop show.

Don't Trust the B---- in Apt 23 offers a new take on an old formula and it succeeds. It's weird, well cast and, most importantly, funny.

For now, we find it a solid, entertaining spook-fest.

Taken together, the monotone voices and 2D characters end up falling flat.

It's not exactly groundbreaking TV, but it's fun, sexy and filled with "Degrassi" alums--easy to watch and incredibly addictive.

There's enough in the premise and the performances (particularly those of Garcia and Neill) to keep us watching, but to really hook us in Alcatraz needs to decide what kind of show it wants to be.

There's no on-screen chemistry between Schneider and Bassols, the jokes are weak and the acting is forgettable.

The second half of the pilot improves over the first. So there's progress.

House of Lies lacks the heart of "Shameless" and Kaan lacks the likability of Duchovny's Hank Moody, which means we care very little about the characters after two episodes.

Lucas is actually quite good as Mitch, as is Molly Parker as his wife, Abby. The issue lies more with the mechanics of the plot.

When you add to that a string of obvious, unfunny cross-dressing jokes and a set of female characters that are barely even one-dimensional, the premise pretty much collapses entirely.

It quickly devolves into borderline slapstick comedy that was old when the Three Stooges were doing it.

At the end of the day, Hell on Wheels is beautifully-filmed project that offers exceptional attention to detail on everything but the main character.

For all its stylistic appeal, one sizable problem remains with Allen Gregory--it's not funny.

No other new show this fall is attempting to tell a bigger story, and we're hoping the rough patches smooth out and it fulfills the potential that's there in its very strong cast and premise.

It still carries a decidedly throwback vibe, and the ongoing bluster about the state of manhood in the world feels, at best, two steps behind the times.

The biggest downfall of Enlightened is doesn't know what it wants to be. It's in no-man's land between a comedy, a drama and a satire.

If horror is your thing, you should definitely check it out for a few episodes and decide for yourself.

We're looking forward to the rest of the season to watch this finely drawn mystery unravel.

It delivers laughs, for sure, but with a brainy, subversive and sometimes absurdist edge.

There are parts of Hart of Dixie that need addressing. The pace lags at certain points. And some of the characters, sometimes even Bilson, are more like caricatures.

The viewer are asked to digest a lot, but we're willing to bear with it and see if the subsequent episodes can strike the same supernatural-but-not-super-goofy note, retain the production values and keep us interested.

Terra Nova is another vehicle for a familiar story. It's one we're happy to watch, just maybe not with the fervor FOX is hoping for.

It's definitely a flight worth booking.

Instead of an entertaining half-hour to ease our wait for the return of "30 Rock," the network has given us another "Outsourced."

The characters aren't terribly deep and the dialog doesn't take advantage of Emerson's and Caviezel's acting chops.

The ABC drama is one of the best new series to hit TV this fall.

From shows like "Alias" to "Buffy the Vampire Slayer" to "Nikita," it has become commonplace to see hot chicks action stars. So a "Charlie's Angels" reboot has to offer something else in order to work. And it doesn't.

Overall, it's a strong first episode and we will definitely keep watching.

It's a fairly standard crime procedural whose hook doesn't really add much--and actually seems like it could be an obstacle further down the road.

The Playboy Club is fun fare. The show could really take off if it chooses to not only be fun, but also explore the various frontiers the 1960s backdrop provides.

Anxious fans should be pleased, and curious viewers outside the usual demographic might even be surprised.

It's a show I would really like to like, and there are elements present in the pilot that make me want to see how it's doing by, say, episode four or five, but it's not there yet.

While there's definite potential in the show, there were a few things about it that just didn't work.

The pilot was extremely plot-heavy, so we've got our fingers crossed that future episodes will tone down the action and dig deeper into the characters.

It's up in the air as to how Wilfred will be perceived by viewers. The first three episodes are fantastic, but proudly off-color, like most of FX's comedy line-up.

It's stunningly rendered and very well-acted, and though the first few episodes have a tendency toward telling rather than showing, the pace rarely feels slack.

The show is no better or worse than "Perfect Couples," "Mad Love" or "Traffic Light." Which is to say it's populated with likable actors and rarely out-and-out bad, but it's also never much more than mildly amusing.

There aren't a lot of hints as to whodunit by the end of the first three episodes, but the accumulation of these little things adds up to a very engrossing story.

It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.

Like so many Showtime comedies, Jackie leaves us feeling a bit conflicted. But the acting, caustic characters and looming consequences make Season 3 destination viewing for anyone who's already hooked--and a worthwhile pursuit for anyone still on the fence.

NBC is clearly aiming for a network companion to their successful "Top Chef" franchise here, but while the aesthetics and the challenges are decidedly Bravo-esque, the personalities don't ever come close.

Once you get past the idea that the bad guys are working for the good guys, it's a pretty by-the-numbers crime show.

We think if you are a fan of this franchise, then "Suspect Behavior" should please you.

Mad Love is not a bad show, but, judging from its first outing, it's not immediately deserving of the caliber of actors it managed to secure for its primary quartet.

It's extremely well cast, uses its Windy City locations beautifully and has an energy that grabs you pretty much from the first scene. Monday nights are really, really crowded, but you need to make room for this show.

OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.

Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.

While there's a little something lost in translation, the show retains enough of the core of the original that--bolstered by strong performances from top to bottom--it's as good a remake as any import since "The Office."

Three good lead performances (including one from "Friends" star Matt LeBlanc) and enough sharp writing about both show business and relationships give the show a comedic bite that makes up for the stuff you've seen before.

While the show is clearly still finding its footing, there looks to be enough raw material there to make Perfect Couples, if not an instantly vital cog in NBC's Thursday comedy lineup, at least a reason to stay put between "Community" and "The Office."

It's a great, gory and surprisingly emotional ride.

What is there in the premiere of Blue Bloods is the aforementioned cast, which also includes Will Estes ("Reunion," "American Dreams") and Len Cariou ("Damages"), and some sharply written and acted scenes between the family members. Those more than make up for a pretty standard-issue case in the premiere.

Chiklis ("The Shield," "Fantastic Four") and Benz ("Dexter") are appealing leads, and "No Ordinary Family" will most likely rise and fall on their backs.

There was one laugh-out-loud moment in the premiere and that was when son Henry imitated his father and William Shatner's character remarked that no one can do a good impression of him. Otherwise it was a lot of furrowed-brow staring at the TV when the laugh track roared, wondering what the #*!! they were laughing at.

As you might expect, the results are pretty offensive, but not even for their obvious racial and cultural ignorance. It's the laziness with which every element of this show was assembled that makes Outsourced such an annoying blister of a television series.

Like several new shows this season, the ABC comedy is neither cover-your-eyes bad nor set-the-DVR-season-pass good. It just sort of is what it is, which is occasionally cute and amusing--thanks mostly to a cast of comedy veterans--but largely forgettable.

Undercovers [is]quite possibly one of the best meldings of the two sides of Abrams thus far: the action-adventure guy and the seriously modern romantic.

The location shooting and some very strong performances lift it above standard cop-show fare.

For those who loved the original series, the theme song is intact, and the phrase "Book 'em, Danno" isn't used lightly. Other than that, this "Hawaii Five-0 2.0" is its own beast, slow-roasted in the ground until it's ready for crowd-pleasing perfection.

Both our and their [James Wolk's character's women's] affection is bound to star James Wolk, who takes what would be a relatively engaging series and turns it into something much more exciting with the charm he injects into every scene--regardless of which persona he's playing.

Action will only take the show so far, but eventually viewers need to care about the characters or they don't have a reason to keep watching and Chase turns into a show that gets watched as an afterthought, not as appointment viewing.

Will it mete out enough answers to keep viewers tuning in? And can it sustain the mystery all season? We're dubious, but we're already engaged enough that we'll give the show a chance.

It's Kurtz and Mixon that really elevate Mike & Molly from most couple-centric comedies.

Boardwalk Empire has everything you'd expect in an HBO drama--sharply drawn characters, large-scale stories intercut with intimate moments and a sense that you couldn't find something like it anywhere else on the guide. It's maybe the best new show HBO has launched in several years.

Is it must-see TV? Perhaps not, but it's a lively and light addition to The CW lineup and pairs well with the unabashed silliness of "America's Next Top Model."

Terriers is unlike any private detective series and it more than upholds FX's tradition of original programming with clever writing and solid acting.

With Covert Affairs, USA has added another slick and likable drama to its summer lineup.

Expect some equally strong language to reflect the harshness of the crimes, but enough charisma from the protagonists to keep the show from derailing into glorified grisliness.

The show is so overstuffed and dancing so fast in its effort to achieve cultdom that it forgets some basic things, like making us care about the characters in the middle of this whole mess or drawing some clear stakes for what happens.

Through three episodes, there are enough funny, frustrating, sad and beautiful moments to make me hope Treme sticks around for a while.

Well, let's hope the show gets better after the pilot episode.

Justified is well-written and well-produced, so it would be good with any decent actor in its lead role. But the show got Timothy Olyphant for the role, and the match could not be any more perfect.

The Pacific never feels like anything less than a cohesive whole. It's really a remarkable piece of television. I know what I'm doing for the next 10 Sunday nights.

Its first two episodes do give the show a very strong foundation on which to build.

Eventually, the series makes way for just enough plot to give our poor, overstimulated eyes a rest. There's a bit of political maneuvering, fierce rivalries, the examination of slavery vs. free will, ludus-yard hazing and even romance.

Despite being populated with likable actors giving mostly solid performances, it's hard to escape the feeling that you've seen this before.

It's a somewhat old-fashioned and pretty kick-ass hour of TV, with great action sequences in the first two episodes and, probably more important, well-turned performances by its three regulars: Mark Valley, Chi McBride and Jackie Earle Haley.