Suits LA benefits from strong performances by Amell and Davis, but Korsh’s strong sense of banter and character, which made the original Suits such a sucess, is what really makes this spinoff worth watching.

All in all, Selena: The Series is pleasantly diverting, but it feels like a missed opportunity.

This is a really tentative recommendation. The performances in The Crowded Room should be compelling enough to hook you in, but we’re just not sure the story is going to progress fast enough for people to not throw their hands up in frustration by the second or third episode.

A Frankensteined pilot. ... While there’s a lot to like about Alert: Missing Persons Unit, the generic cases of the week plus the logic leaps of some of the show’s storytelling lead us to believe that the show is going to contain more bad than good.

Liaison is a show that leaves little to no impression on us after watching it, mainly because it feels like a cynical pastiche of espionage thrillers that came before it.

Sure, the new Punky Brewster is still a sitcom aimed at younger viewers. But it’s got a warmth and sweetness to it that feel genuine. And it’s smart enough to deal with Punky as she is now, not trying to make her into some grown-up version of her 8-year-old self.

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.

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.

There’s something about Clickbait that seems a bit off, whether it’s the flat plot or the concentration on characters that are less than interesting. But Kazan puts in a magnetic performance, and that may be more than enough to keep viewers watching through a mystery that stumbles out of the gate, weighed down by technological nonsense.

Every character is operating on a different level of vulgarity. ... Skip it, unless you’re in 8th grade and somehow haven’t already heard these jokes before.

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.

Monsters: The Lyle And Erik Menendez Story takes a pretty familiar story and makes it compelling by shifting the narrative slightly and through some excellent performances.

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.

Django will make for a good distraction if you’re into classic Westerns, but if you’re looking for complex morality plays, you’re probably out of luck.

If you’ve stuck with Emily in Paris for three seasons, you’re getting more of what you love (or love to hate watch) in Season 4, Part 1. And crucially, it will take you back to Paris and help fill the Olympics void in your heart.

No Man’s Land presents an intriguing story of a man getting sucked into the fight against ISIS, joining forces with the little-known (at least in the West) YBJ.

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.

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.

Devin and Bobby are archetypes, and archetypes stop being funny after awhile, because, as we’ve said many times, the best comedy comes from character, not jokes. The more interesting characters are the people around Devin and Bobby that are immersed in sneaker culture as more of a business, like Nori or Stuey.

STREAM IT if you like FBI or are a big Tom Ellis fan; CIA should scratch the itch of both sets of viewers. If you’re looking for an interesting procedural, SKIP IT.

Subtlety isn’t really a strong suit of Unchosen, but what we hope is that the show’s rough edges in that category will be smoothed down as the psychological thriller at the core of the series develops.

There’s nothing that’s awful about Devils; it’s not eye-rollingly dumb and the performances are decent. It’s just that the first episode grinds along so slowly, you just wonder when the real story is going to kick in. It does, at the end, but by then you might be too bored to care.

On Call has a nice pace to it, and the performances of Bellisario and Larracuente are understated and effective. Sure, it’s a police procedural, but at least its format and subject matter are a little different than what we normally see.

Billy Crystal’s lead performance in Before is what is the big attraction to the series, but we also hope that the episodes’ relatively-short runtimes will keep the storytelling focused on Eli finding out why Noah knows about his past.

There is enough going on in Young Wallander, especially the immigration storyline, that will keep viewers watching. But we just wish Wallander himself was a more interesting character.

STREAM IT, but only because we like watching Adam Devine and Sarah Hyland in scenes together. Otherwise Pitch Perfect: Bumper In Berlin is too silly for its own good, especially because the silly isn’t even all that funny.

The Real Dirty Dancing is a mindless distraction if you’re in the mood for it. It’s got plenty of nostalgia for the film baked in, and it seems that celebs are game. But the show is about as memorable as what you had for breakfast.

Obliterated isn’t trying to be anything more than what it is, which is a fun show with a lot of action and sex. And it succeeds at that in spades.