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.

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.

This is a slow burn that assumes you’re somewhat familiar with this case. Most of the stress in “Episode One” worked for this critic because I knew what was coming. If I didn’t, there’s a chance this somber pacing drift into boring territory instead of being quietly terrifying.

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.

We like the cast of Blockbuster, especially Park, Fumero and Smoove. And Ramos has done enough time on successful workplace comedies to know how to make them work. What we see so far is underwhelming, but promising.

Stellar characters, great performances, killer action, and — once again — some of the best costuming work on television can go a long way in covering up structural flaws. This year, I was promised a badass fantasy show, and I got one. It just wasn’t the one I expecting.

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.

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.

We’re still not sure of God’s Favorite Idiot will right itself or just become a train wreck. The second episode definitely gave us signs that it will try to make McCarthy’s character more than an ad-lib machine.

Though we liked the experts that were interviewed for Queen Cleopatra, as well as Adele James’ performance as the famous queen, the dramatic sequences leave too much to be desired to keep us from just reading about Cleopatra online to get the information we want.

Q-Force feels like a missed opportunity to present LGBTQ characters in a light that doesn’t necessarily point to their queerness with such a big, 1990’s-style arrow. But we’re holding out hope that the show gets better during the first season.

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

Barrera sells the idea that she can absolutely survive, making her resourcefulness in the situation almost plausible. Now we just need to see where the plot goes, which will play out in those flashbacks. ... One of the things we like about the six-episode limited series is that the episodes are all around 30 minutes, so you’re not seeing Liv wandering around the wilderness for hours on end.

While there’s something undeniably charming about the world of After Life, its final season is bland and forgettable, weighed down by cliché dialogue and a muddled tone.

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.

United We Fall has all the right pieces. ... But those pieces just don’t coalesce into a show that rises above its tired premise.

While we think there is room for Tires to grow into a decent and moderately funny workplace comedy, we don’t think there will be much of that growth during a six-episode first season. We may see a

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.

There’s enough to like about La Brea that will keep viewers watching, despite the show’s more silly and cheesy elements, especially the mystery of where the “lost” Angelenos are and why they’re there.

The Come Up doesn’t look like it’s going to be a particularly deep show, and anyone who’s older than the cast members have seen this kind of show many times. But it’s fun to see how the “youngs” in 2022 see the big city.

Victoria is a woman to be respected, and her story is interesting enough, but only her most devoted fans and fashionistas will probably care about watching the whole thing through. Try out episode one for some good retro gossip, and then SKIP IT.

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

Brews Brothers is funny and is easy going down, like a smooth pilsner. But we’d rather it be a little deeper, like a good ale.