Nothing about this sitcom is clever or amusing.

The Exes is the kind of show you can dump without a second thought.

You don’t ask for much logic from these Syfy schlockfests, but the story pretty much dog-paddles for two hours until its inevitable conclusion.

This is not an easy show to watch, not because of its ambition, but because it’s just so pointlessly mysterious.

Unlike "The View," there were no topical references--the show could have been filmed five years ago for all its relevance--unless you count the moment Osbourne turned a vague discussion of divorce law reform into a rant against cyberbullying.

Forever comes off like a show a couple of drunks scribbled out on a cocktail napkin.

It's strange that the same network that airs these two stellar comedies [Modern Family & The Middle] would chose to regress and put this dreck on the air.

Kudrow seems to be aiming for ``The Larry Sanders Show'' or ``Curb Your Enthusiasm'' territory but only gets as far as ``Reba'' with the f-word. [2 June 2005, p.47]

Despite some graphic moments of heads exploding, BrainDead is neither comic nor thrilling.

The original show balanced horror with comedy and supernatural threats. The update feels like sociology homework.

This sad sack of a show plays like an East Coast, economically challenged version of his HBO hit “Entourage.”

The search for love has never seemed more like a lost cause.

Even the cotton-candy fantasy “Glee” had more depth and reality to it than this show.

No one deserves to lose their job in a mess like this--except the person who created this dreck.

Calling this a train wreck makes the movie sound more fascinating than it is.

TV this dull should be outlawed.

The dialogue is so poor, even Tyler Perry would wince.

Outpost might remind you of the heyday--or low point--of syndicated shows in the late ’80s or ’90s. It’s not “Xena: Warrior Princess”--it’s more on par with the dreck of “Beastmaster.”

Everyone associated with this show--with the exception of MacFarlane--deserves better.

Given the continuity gap between the cliffhanger at the end of the first episode and its resolution in the second, it’s as if the producers aren’t watching their own show. That’s understandable. Frontier proves some places aren’t worth the visit.

The party may be winding down, the taps are running dry, but stupidity lasts forever.

There are few surprises here and even fewer reasons to tune in.

The problem with Partners, as you'll discover if you watch the first two episodes, is that they already made that show years ago and it was called "Will & Grace."

Training Day veers toward the funny bone when it should be going for the jugular. Paxton acts in the pilot as if he’s in a remake of “The Dukes of Hazzard” and he’s playing Cooter. He tones it down in future episodes, but he’s never menacing or scary or even ambiguous.

Almost every moment here is staged to scream, “Look at me! I’m arty!” Lindelof, burned mightily by the backlash over “Lost’s” ridiculous finale, has all but told reporters that the mystery central to The Leftovers will never be explained. That leaves you with a show wallowing in smug self-importance, melancholy and drear week after week.

He sighs, "I got nothing left in me." Neither does this show.

Oh, if only television critics could be like Simon Cowell on "American Idol." I could declare Stephen King's Kingdom Hospital positively dreadful, and viewers would never have to see it again. [29 Feb 2004]

There is some actual racing in the hour, at the Parada Del Sol rodeo in Scottsdale, Ariz., where 120 compete but only 12 will draw checks. The time to beat is just under 18 seconds. But the results give way to another round of sniping and back-biting. The Weinstein Co., known for Oscar-bait films, serves as co-executive producers of this sorry spectacle.