There are funny moments in Frank Of Ireland, but Frank is so cartoonishly awful that we wonder how he ever got friends or a girlfriend to begin with. Either way, we’re not intrerested in finding out.

Tyler Perry’s Beauty In Black is about a subtle as a slap in the face, which is something we’re surprised we didn’t see in the grim, abuse-filled first episode.

First Kill could have been a fun teen supernatural series. But its storytelling is so clumsy it’s just very hard to watch.

Celebrity Bear Hunt‘s gameplay is a bit confusing, and it would be just fine as a celebrity survival competition without the presence of Bear Grylls, who just seems to slow things down.

Too much of this hour, though, covers territory any comedian, Asian-American or otherwise, could crack wise about. ... Yang is no Thomas Middleditch or Kumail Nanjiani or even T.J. Miller.

None of the cast is interesting enough to want to follow, even after watching the first two episodes. It also doesn’t help to see rich people buying massive houses during a summer where none of us can go anywhere and many of us don’t have jobs anymore.

Why would we want to sit around and watch something to make us feel sad about Saget when we could watch him do what he did best: Make us laugh. ... Skip this and instead search for actual comedy from Saget.

Farzar could be a good show, but unless you’re a big fan of dick jokes — and we know you’re out there! — you’re not going to find a lot to laugh at with this show.

Hard to find what counts as memorable here when so many of the premises and punchlines date back to the previous election cycle of 2020, or even 2016.

Sure, it’s great to see Brendan Fraser and Tom Welling on our screens, running around defeating bad guys together. But Professionals is such a slapdash show that it doesn’t really tap into the potential of two fan-favorite stars playing off each other.

It just feels like a whole series full of toxic, near-narcissistic characters that aren’t murdering each other. We don’t want to spend our precious time on earth with people like that in real life, much less filling the cast of a young adult drama.

John Carpenter’s Suburban Screams leans far too heavily on docuseries and true crime mechanics to really consider its horror elements, which ultimately just feel like window dressing.

Countdown pretty much uses every action procedural cliche to piece together a plot and cast of characters that are neither exciting or interesting.

Doc doesn’t fail because it’s full of medical show cliches. It fails because its central premise feels like a house of cards, and there won’t be much to watch when it collapses.

The first episode was so dull that we couldn’t link together its seemingly disjoined narrative.

Skip it, unless you have a serious itch for some foliage-porn.

The cast is game — in addition to Milioti and Kudrow, Leslie Jones and Samson Kayo also seem to be invested in their characters — but there’s just not enough funny material for their performances to overcome the special’s structural problems. 2020 has been bad enough; there’s no need to relive it via an unfunny special like Death To 2020.

It feels like Painkiller wants to say something profound bout how the opioid crisis was started, but does so in a way that feels completely tone-deaf.

Monarch is a soap that’s all suds and no substance, and its most compelling character might possibly have the least screen time going forward.

While it’s a valiant try at starting a new superhero franchise, Jupiter’s Legacy can’t wrangle its sprawling mythology well enough to make a coherent and cohesive first episode.

The Prince is essentially a royal version of Family Guy, and not nearly as biting or funny as Janetti’s former series is.

The Endgame is by turns boring and by other turns generic and nonsensical. It’s story isn’t compelling enough to follow beyond the first episode, and we’re figuring that the interplay between its stars isn’t enough to keep people watching.

The performances in Solos would have really worked well on stage. But on TV, even the sharp performances can’t make up for lack of action or story propulsion. There’s a reason why monologuing rarely translates well to film or TV, and Solos shows why.

Either be the fictionalized show with the hip-hop music cues and the 21st century dialogue, or the docuseries that gives Anne the “You’re Wrong About” treatment, or the more accurate but less sexy knockoff of The Tudors, but don’t try to be all of them. ... This series needed to pick a lane and stick with it.

The first episode of The Clearing left us too frustrated and confused for us to want to watch any more of this creepy cult thriller.

Not only is Sexy Beast a series that feels unnecessary, given its connections to a film that wasn’t a big hit a quarter century ago, but it doesn’t even rise to the level of being a good heist show on its own merits.

Sex/Life is a show that has no idea what kind of message it wants to send, besides maybe the fact that it would be awfully nice if people could boink like rabbits while having a busy family life.

Tt ultimately reads as a stale and redundant crime thriller that doesn’t thrill at all. In fact, at times I struggled to stay interested in one part of the show. .... You’re better off queueing up Defending Jacob, Bad Sisters, Presumed Innocent, or The Sinner instead.

While the prizes up for grabs on What’s In The Box? are exciting and NPH is an affable host, the game play drags and the reality elements are too irritating to keep us watching.

Leopard Skin is too twisted and tangled to devote mental energy too. Add to that some uneven performances, and you’ve got the formula for an ambitious show that just misses the mark.

We are Wayne Brady fans, so we wished Game Of Talents was better. But it’s trying to be both a game show and a talent show, and it’s not good at being either.

With a little bit less Cranston, a whole lot of confusing storytelling and characters that haven’t gotten any deeper than in Season 1, Your Honor‘s final season feels like an idea that was best left as just that: an idea.

Grimsburg is a comedy that suffers from too many jokes, which seems to be impossible, but this show proves that it can happen.

Not Dead Yet wastes the talents of Rodriguez and the rest of the cast in a show that’s shockingly unfunny.

You’re better off watching Squid Game again than watching the cynical, depressing mess that is Squid Game: The Challenge.

Foodtopia, developed by the same team minus Hill but adding Conrad Vernon, is quite a bit darker. And it’s also quite a bit less funny.

In another producers hands, The Watcher could have been a taut, tense thriller. But with Murphy and Brennan at the helm, it becomes more campy than tense, and even a stellar cast can’t save the show from itself.

We’d rather see a bioseries about Mike Tyson where Tyson is intimately involved, because we’re pretty sure it will have a lot of subtleties about Tyson’s life that Mike lacks. His life deserves better than a series that treats him like a curiosity more than anything else.

Big Mouth Season 7 is still treading the same worn-out waters as it has across the rest of its runtime, and the only positive thing that can really be said here is that next season is its final set of episodes.

I wish Netflix added chapters so I could urge you to SKIP AHEAD to the stories and avoid all the unnecessary transphobia. .... This Netflix contract with Chappelle is his dream, not ours.

The Real Project X is informative and “entertaining” on a superficial level, but the series routinely leaves a bad taste in our mouths with its point-and-gasp/laugh methodology.

The Goop Lab isn’t even worth hate-watching, it’s so anger inducing.

hat it brings to mind the most? The hyperbolic sleaze of TV “newsmagazine” Hard Copy. Get Gotti is slick and sensationalist and tiptoes right up to the edge of bad taste, occasionally dipping the tip of a toe in it. It’s also tonally conflicted.

We don’t think even Dexter loyalists will get why Dexter: Resurrection exists, and the first episode doesn’t give us any indication that the season’s story will be at all interesting.

Sure, Country Comfort is a family sitcom, so we’re not expecting high art. But it’s so full of sitcom clichés that we were longing to watch better, more contemporary family sitcoms.

Perhaps the main characters in Grosse Pointe Garden Society will become more than just cartoon characters and things like the annoying narration will calm down. But we’ve seen shows like this, done much better, for a couple of decades now.

The “funny” narration from Underwood and Bristowe is completely unnecessary and feels like it was added during post-production because the producers found that the show was too boring. .... It leaves us completely skeptical that all of the contestants are who they say they are.

There’s nothing about this new version of The Time Traveler’s Wife that hooked us in so we could take this romantic ride with Henry and Claire. It doesn’t help that the show is cheekier than it really needs to be.

The Real Bling Ring: Hollywood Heist feels like it glorifies the Bling Ring participants — at least the ones who agreed to be interviewed — and victim-blames the celebrities that got burglarized, which makes the series’ perspective really tough to swallow.

We still can’t buy into the raunch-for-raunch’s-sake tone of Tires, even if the characters are at least starting to get personalities and motivations that go beyond just saying offensive things.

Tiny Pretty Things will make you never want to enroll your kids in a ballet class, given how emotionally scarring the art is portrayed to be here. Between that, the cliched characters and the clunky dialogue, you’re better off watching Bunheads over and over instead.

A documentary that’s little more than pointing cameras at an overflowing toilet and asking people to comment on it.

Between the CGI blood, the disjointed dramatic scenes, and the somewhat stilted expert interviews, it feels like anyone who wants to get the history of the Colosseum in Rome would be better served reading its Wikipedia entry than slogging through 8 hours of Colosseum.

Rather than offering any real insight into Richards’ life, the show feels more like a platform for her to stay in the spotlight.

Everyone Is Doing Great is a navel-gazing portrait of two guys who have refused to grow up on top of not embracing the roles that made them successful. We’re not sure who in the current financial, health and political environment are going to find any entertainment with these two sad sack characters.

It’s a bit of a sprawling mess, made worse by a first episode that bounces around its timeline and doesn’t take the time to really figure out why Rebecca turns from normal research scientist to Elon Musk.

On The Verge is so disjointed in its storytelling and so surface with its character development that it actually made us not want to see another episode.

It’s entirely possible that this show and its cast will evolve to a group we want to invest in, but this first season feels tired. Might as well hang a DO NOT DISTURB sign on it.

The opening salvo of The Offer fails to convince us that 10 hours of a “true” Hollywood making-of story is worth sitting through. Haven’t we seen enough of this back-patting, inside-joke stuff lately? Rewatch The Player instead. Oh, and The Godfather, too.

While the subject matter of Heated Rivalry is somewhat daring, the first episode plays out like something that used to be shown late nights on Cinemax instead of story with well-drawn characters and romantic chemistry between its leads.

The series version of Fatal Attraction lacks the danger and tension the film had, and there isn’t enough story to compensate for expanding the two hour movie into an eight-hour series.

Those About To Die is too muddled, with too many characters, to even enjoy for the sex and violence, of which there’s quite a bit.

Surface has not improved its slow pacing and logic gaps in Season 2; it’s just moved the locale from San Francisco to London.

The show comes off more like an exhausting parody than anything else. ... There were distractions beyond Zellweger’s fat suit. Doing a fictionalized take on the absurdity of a true crime story lends itself to too many stylistic flourishes that aren’t necessary. ... There also seems to be very little in the way of subtlety or shading to the story.

As much as we couldn’t take our eyes off Gugu Mbatha-Raw during the first episode of Surface, her performance can’t save a show that doesn’t seem to have enough story to justify an 8-episode series.

There are some stories that are not well served when they’re made into scripted dramas. Because of the muddled details, the Natalia Grace case is one of them, and the lack of nuance in Good American Family is a good indicator that viewers are better off watching docuseries about Natalia’s case rather than this drama.

Even if the action doesn’t keep a game show fan on the edge of his or her seat, it should still be engaging enough for the viewer to want to play along. The Hustler, despite the efforts of Ferguson to will the show into something interesting, doesn’t ever get to that level.

It’s all patently ridiculous. If it were ridiculous in an entertaining way, that would be one thing. But Tennant’s side of the story is just so insane that you’ll be too distracted by it to be entertained by Tucci’s side.

We’ve held out hope in the past that The Morning Show would control the impulse to spiral into flights of fancy and actually stick to the drama involved in trying to produce credible news shows in this trying media environment, but the fourth season has proven to us that this is not what the show is ever going to be about, and we’re just not into what it is trying to do.

Between the tired format and the idea that Tate is playing most of the featured characters, Hard Cell becomes a lot to take, even after the first 30 minutes. We can’t imagine it getting much better during its first season.

The Hunting Party is a generic action series that seems to operate on twists that either aren’t that surprising or are pretty much useless.

All of the good things about Netflix’s Cowboy Bebop are betrayed by poor writing, uninspired action scenes, and a truly baffling obsession with the most annoying characters in the series.

If you want to watch a cringey but hilarious show about the music business, go find Dave, which is also on Hulu. Maxxx will just make you cringe.

Tom Swift gets too stuck in its leaden dialogue and attempts at being edgy to tell a conspiracy story that makes any sense.

A muddled mess. ... Waco: The Aftermath has a great cast, but it’s also massive, because of all the stories the show needs to cover. And none of them will get the attention they deserve in such a short limited series.

Shining Vale may get better during its first season as we find out what’s actually driving this story. But its first episode was a loud mess of a show that seemed to be more satisfied with giving Courteney Cox as many chances to swear as possible than to actually establish its characters.

It’s more creepy than scary and the first episode does nothing to make us want to watch and find more of those scares. ... Helstrom was slow-moving and dull, and is more interested in brooding dialogue than actual scares.

The couples at the center of The Ultimatum: Marry Or Move On don’t feel like real couples to us, mainly because of their relative age and relationship newness, which gives us no incentive to root for or against them staying together.

There are parts of Last Days Of The Space Age that we liked, but the storytelling is too much of a shambling mess to keep our interest.

Tell Me Your Secrets is a bleak show that withholds information in order to ramp up the mystery, but to the detriment of a coherent story.

We don’t need more Paul bothers content, and Paul American really doesn’t give enough insight into Jake and Logan’s lives to make us want to keep watching.

The biggest flaw in How I Met Your Father, even two seasons in, is that I still don’t care how it ends.

While Mayor Of Kingstown boasts fine performances, it’s confusing at times and incredibly depressing at others. If we wanted to watch a show that’s relentlessly grim, there are much better choices out there.

Justice On Trial is an interesting idea but so poorly executed, [it] becomes really hard to watch.

We don’t expect The Pentaverate to get much funnier as the season goes along. And the longer we watch, we think the more painfully unfunny most of the gags are going to get.

Echoes is without question one of the most messy and confusing shows we’ve seen in awhile, and there really seems to be nothing for a viewer to grab onto that would tempt them to move to the second episode after the first is over.

Simply put: Universal Basic Guys is a deeply unfunny show. And when it’s not funny, then all of the other problems the show has are amplified.

Cruel Intentions tries to be edgy but only ends up being eye-rollingly bad, with characters that are very easily hateable and stakes that are so low, you wonder why everyone is expending all this energy in the first place.

Nurses is a Frankenstein monster’s mess of piece-parts from other, better medical dramas.

There’s naturalistic acting, and then there’s mumbling. And the first episode had a lot of mumbling, especially from André Holland. The Eddy is a pretentious mess of a show, and even the expert music that is interspersed through the first episode isn’t enough to save it. In fact, it makes things worse.

Queue up the original 1966 Grinch special, or even one of the two movies before even considering Dr. Seuss’ The Grinch Musical! You’ll never see the Grinch the same way after watching this mess.

Crossfire starts off giving its viewers some real-life anxiety and then starts to squander that tension almost immediately. To be honest, it’s bad enough we see stories like this on the news; we don’t need to see it as entertainment at this point.

This is a slightly more colorful version of the Wikipedia summation of what happened, albeit with a level of frustrating imprecision in terms of detailed storytelling. Par for most of the Trainwreck course, Storm Area 51 is flimsy and dissatisfying.

This so-called origin story is off to a horrible start, and the few cheap laughs that you’ll find in the first episode don’t necessarily make it worth hanging around for 10 long, awful installments.

It is terrible. ... The First Lady will draw viewers in who want to see great actresses play great women, but unfortunately the show’s abysmal writing lets us all down. The scripts are honestly insulting to the real women The First Lady is about.

Obsession wants to give viewers all the sexy with no story.

This doc slaps together some fantastical facts, calls it a day, and is woefully inexhaustive.

Clarice, the character, has been turned into a quivering mess, and Clarice, the show, makes the fatal mistake of thinking that Clarice’s trauma is the most interesting thing about her. ... The real problem with CBS’s version of Clarice stems from the writing. ... While Episodes 2 and 3 show promising signs of Clarice using her investigative skills, that’s all undermined by scenes where supporting characters can get her to unravel with a few mundane questions.