There isn’t a single interesting person in CBS’s dud-on-arrival Person of Interest.
These days, it’s impossible to tell what Glee the television show most wants to be.
If AMC is trying to make television that looks like the movies, then Cinemax is giving them a run for their money.
Where there’s smoke, there’s usually fire, but in the case of Rescue Me’s final season, there isn’t even smoke.
The best part of Torchwood has always been its decidedly different approach to sci-fi.
The show is as much a celebration of New Orleans’s spirit as it is a depiction of the struggle to keep that spirit afloat.
Where the show gets a leg up is in its editing, which splices between the main character’s aggressive training and his tranquil family life.
The fourth season of Californication proves there can indeed be too much of a good thing.
Long live the shameless explosions of dramaction.
Rather than waiting for a future payoff, Fringe is cashing in with every episode.
Dexter is such a darkly comic and self-aware show that its creators would joke about how far from cutting edge it is.
It’s a mistake, albeit an easy one, to compare Boardwalk Empire to The Sopranos.
If you’ve watched any of the previous incarnations of La Femme Nikita, prepare to be disappointed by the new CW version, Nikita.
If Weeds hopes to survive, it needs to fix its one-note performances.
At heart, Hung is a show about loss.
USA Network says that it puts characters first, but it really means it’s all about attitude.
The only thing sharper and sexier than the fangs on True Blood is the writing.
The first two episodes of the season’s second half showcase Lie to Me’s unfortunate weaknesses and superlative strengths.
Two cops, one washed-out show.
By the third episode, the show has developed so much character that even simple glances are steeped in meaning.