The climax is predictable, but the epilogue is not anything you’d find on a CBS procedural and suggests how good this show and Wilson could be.

Nothing about this sitcom is clever or amusing.

The real reason why “Mariah’s World” seems stale is that it comes off as a TV remake of “Madonna: Truth or Dare,” and Madge did it better in 1991.

Alas, most of the other characters are so weakly sketched, they don't make a ripple.

The Fix looks like something you’ve seen before.

As the cliche goes, you may think you know the story, but this telling is ­utterly compelling, with some terrific performances and a balanced, compassionate look at not only President Reagan (Tim Matheson, “The West Wing”) and first lady Nancy (Cynthia Nixon, “Sex and the City”) but of the would-be killer, John Hinckley Jr. (Kyle More, “Brooklyn Nine-Nine”) and his family.

Tom Welling's picked up all the wrong lessons from behind the screen, from premise to character development. Hellcats is poorly paced and its attempts at comedy and drama stumble.

Thursday’s conclusion drags a bit if only because the miniseries requires Rosemary to be so deeply stupid for so long, and it’s not entertaining watching Saldana being practically sucked dry by her infernal fetus.

We all know the cliche about imitation serving as the sincerest form of flattery, but this dumb show takes sucking up to levels of criminal laziness.

This remake of a tart British sitcom of the same name starts with the moment that has killed many a show: its two main characters in bed, post-booty call. It's anything but romantic.

Sons doesn’t shine yet, but it could if the writers embrace their loony wild childs. Even at its worst, Sons is better than a third Seth MacFarlane cartoon

Griffiths does her best to hold the show together as a scattered woman coming into her own.

McHale, as he proved on “Community,” has great timing, and he’s aided by his office colleagues, especially the delightfully deadpan Ko and Fry, who combines sweet and weird. With its office-as-asylum atmosphere, Great Indoors echoes “NewsRadio,” not a bad influence.

Madsen works hard to deliver an intimidating matriarch, but the dialogue is flat and merely functional.

The cast, it must be noted, is fine; it’s the scripts that seem to be have been drenched in Bug Juice and left to rot in the sun.

The emo-dialogue only sounds good if you’re just watching your first TV show..... The show’s decade-forward future is intriguing but inconsistent.

Wolf Lake attempts to revel within the originality of its otherworldly concept but never does anything remotely original or otherworldly. [12 Sep 2001]

There probably hasn’t been so much talk about sex crammed into one hour since MTV’s “Loveline.” Much of it cannot be repeated here. Instead of being titillating, it’s tedious, the equivalent of three cold showers.

The show is at least meta enough to have the department commander call out the sheer outrageousness of the appointment, but that doesn’t make it any more plausible.

With so many powers, the Tomorrow People seem near invincible, and the measures Ultra uses to thwart them seem flimsy. The idea that a prohibition against killing could be genetically encoded seems both convenient and implausible — and also lessens the stakes.

Sharknado 2 doesn’t need any jokes about jumping the shark. It knows you’re going to make one and it beats you to it, literally.

Witches of East End is the campiest hot mess on TV.

It’s not a good fit [with Lifetime], and there’s not a lot of drama in this biopic about the first U.S. Olympic gymnast and African-­American to triumph in both the all-around and the team competition.

Fox’s new comedy dangles the promise of outrageous high jinks just around the corner, but at its heart, it’s a conventional story, the misfit forced to become the parent to three wayward kids and, of course, become a better person.

If you can accept you're watching the Kennedy saga through the prism of the "Fringe" universe, what you will find is an absorbing, addictive drama, with some authentic performances.

It’s wearying to watch actors of this caliber try to fluff laughs out of this dreariness.

Midnight, Texas could have been called “True Blood: The Next Generation” or even more precisely “True Blood: The Low-Budget Network Reboot.” Either way, it can’t shake a fang at the original.

Don't worry about forming a lasting relationship with Best Friends Forever. It has all the signs of a quick flame-out on the NBC schedule.