Allen’s been doing this kind of humor for 50 years. It shows.

With the breezy action comes some valuable knowledge about magnets and ammonias. Who knew TV could be educational? ... This reboot looks to be a pleasant way to start the [CBS Friday] lineup and the weekend.

The show obvi­ously wants you to believe their characters are meant for each other, but given that this show seems to be teasing everyone with everyone else, it’s hard to take that seriously--or even be inter­ested.

Driver’s manic spirit has never been displayed to such great effect. Yarbrough and Bowie bring warmth and depth to their roles beyond the script. At a moment when CBS has regurgitated “King of Queens” into “Kevin Can Wait” and its Matt LeBlanc series “Man With a Plan” looks embalmed on arri­val, Speechless is a fresh addi­tion to prime-time family comedy.

Sutherland is impressive as a nice guy exercising his backbone for perhaps the first time in his life. He works hard to get past one of the most iconic roles in television. The idealism is palpable, even if the show seems a bit too idealistic. The supporting cast seems stuck taking predictable positions.

This Is Us brims with some mighty acting. ... Creator Dan Fogelman’s script, however, takes the sting out of some major moments with some minor humor. There’s a huge twist in the final moments tonight that might have you rethinking everything you’ve watched, or might have you feeling like you’ve been played.

The Good Place,” from “Parks and Recreation” creator Michael Schur, is the true heir to “Lost,” right down to the flashbacks, half-baked philosophy and Colorforms-simple metaphors.

Technically, the show is superb, melding animation with actors similar to “Who Framed Roger Rabbit?” Hines and Meadows in particular do a great job essentially acting opposite nothing. But Son of Zorn seems like Adult Swim filler. There are better shows out there for fall.

Of the handful of episodes I watched, the pilot tonight, written by Adlon and directed by C.K., is the strongest. Subsequent episodes meander.

The miniseries, allegedly based in fact, is one great big advertorial for the company, not that it doesn’t have its pleasures, chief among them some thrilling road contests that suggest the chariot races of “Ben-Hur.”

Glover has created a show that is difficult to pigeonhole and supremely addictive.

The characters have emotional issues without huge labels or teachable moments. The lack of stigma is refreshing for television.

Moura’s performance anchors this show.

The rapid-fire editing suggests the producers are people who find MTV’s pace too slow. But Better is devilishly clever about dropping teasers about its destinations to get you as excited as its travelers about the journey. This is a Travel Channel spectacular with 10 times the budget and 100 times the star power.

The almost 90-minute pilot, directed by Luhrmann, takes stylistic leaps unlike any other series. Without Luhrmann’s hands-on approach, the subsequent five episodes available Friday lose a bit of their pep, but none of their appeal, as the story tunnels down into the lives of these young people.

This franchise finally jumps the sharknado.

Looking: The Movie is pointless and boring.

McBride is convincing, not surprisingly. He has a special knack for inhabiting the skin of imbeciles, and I mean that in a good way. Goggins proves he is one of the finest character actors working in television.

Last season, Elliot was trying to save the world; now he’s trying to save himself. That battle promises to have lots of casualties.

There are some genuine scares in here but some heartfelt beats, too, along the way to the bloody climax.

At one point, The Night Of might have been groundbreaking. But in the wake of the excellent ABC series “American Crime,” which has walked the same outrage with far more nuances, sophistication and a superior cast, The Night Of feels so last decade.

Comer’s performance--as a 26-year-old stunted as a 13-year-old--is beautiful. She can be endearing, mystifying and aggravating, sometimes in the same moment. She’ll keep you coming back to a mystery that grows darker with every revelation.

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

Dandridge is a standout as the sister rediscovering her love of faith even as her doubts about her family grow.

There’s comparatively little tension, action or dialogue in Mother, but there sure is a lot of girl-on-girl writhing.

It’s too easy to think of this family as sharks. Sharks are much kinder to their young. Animal Kingdom bites hard and doesn’t let up.

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

Feed the Beast manages to be both overheated and undercooked. Stock up on antacid.