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

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.

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

While the first two episodes of "Da Vinci" are overly convoluted, the action moves at such a rapid pace and unfolds with such giddy enthusiasm that it's easy to just sit back and enjoy the ride.

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.

Anyone looking for soapy twists and turns, shocking violence and a fast-paced ride will get what they want from creator Kevin Williamson and crew, just don't expect the show to dig deep into its characters or give you much to think about in the process.

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.

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

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

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.

While it's never as silly or artless as HBO's overpraised "Game Change," Spector is low-stakes, procedure-oriented and deliberately claustrophobic, lacking in the sort of sharply pointed dialogue one may expect from Mamet

Lowe's job of selling Alice's yearning for Wonderland is all the more remarkable for the fact that her world-spanning love with Cyrus comes off a little bit limp in the premiere.

While we don't have the same rush of affection as we did when we first discovered "Downton," we found Mr. Selfridge entertaining.

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.

Merchant uses his gangly physicality (at 6-foot-7, he towers over everyone else on the show) to good effect in scenes when Stuart is on the make. Despite that, though, and despite the fact that Merchant is willing to make himself the butt of the joke, Hello Ladies doesn't quite pull off the trick of making Stuart someone you want to spend week after week seeing.

Williams signature brand of comedy and big personality dominate the show, but with an ensemble of Sarah Michelle Gellar, James Wolk and Hamish Linklater, it's less one-note than expected.

Through its first three episodes, The Carrie Diaries works quite well as a coming-of-age story, thanks in no small part to Robb's winning performance and a pretty solid cast of young actors around her.

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.

Red Band is one of the brightest shining new shows of the fall TV season, thanks to solid writing and great, endearing cast performances.

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

Four episodes in, Black Sails is actually spinning a cleverly-crafted tale of intrigue, secrets and deceit surrounding a race for an enormous cache of gold in a Spanish galleon.

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.

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

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

Happyland is definitely a fun show with a lot of original potential. It just needs to trust itself and the ingredients it has already in the stew before going for outlandish soap opera stories over grounded character-based work.

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.

Not all the cases turn out badly, but enough do that the show takes on a rather grim formula.... That's a lot of talent to work with and the good news is that Monday Mornings shows signs of finding its voice by episode three.