With Kelley writing and Levinson directing, there’s no chance that The Calling is going to look or feel like the average network police procedural. ... We’re just not sure what to make of how Avi is characterized on the show, if any of his fellow cops are anything but one-dimensional characters. ... Completely short circuits a deeper sketch of Avi himself but makes religion and faith into a tool instead of a way of life.

It gives no personal insight into Mark Wahlberg’s life, and it’s not like he’s the most dynamic camera presence when he’s just being himself. That said, there is a part of us that’s itching to see how someone who was riding high — and already stretched super thin — deals with the massive ramifications of a worldwide pandemic, one that affected every business he invested his time and money in.

DeGeneres still has the chops as a shrewd observational comedian, but can she effectively chop away at her own mystique? Yes and no. .... While she gets sizable laughs making fun of men for getting away with making ridiculous public scenes by playing air guitar or imagining their golf swings, DeGeneres gets far less mileage with more shallow thoughts about somehow not knowing what it means to be in charge.

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.

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

Gotham Knights just left no impression on us, which is deadly for any show, but especially one that’s trying to be a Batman series without Batman.

We hate to give Call Me Kat a thumbs down, given all the talent in front of and behind the camera. But the show sacrifices character for gimmicks, and the parts that aren’t gimmicky are mostly hacky and unfunny.

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.

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.

The personality of The Terminal List can best be described as “grim,” as are the performances of Pratt and the rest of the cast. Life right now is pretty grim as it is; we don’t need this much monotonous darkness in our entertainment, too.

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

Despite the sloppiness by the show’s producers, and some of its repetitiveness, we still appreciate Underwood’s coming out journey enough to make Coming Out Colton a worthwhile watch.

While Berlin doesn’t bring anything new to the heist genre, the charm of Alonzo as Berlin makes the prequel worth watching for both fans of Money Heist and newcomers to the franchise.

Despite the fact that Buying London feels very familiar, the new personalities and the unique homes serve up everything we want in a show like this.

Polo is a mostly boring look at a sport that very few people outside of elite circles have any particular interest in.

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.

Nothing about Wolf Pack works for us, and there’s not nearly enough of Sarah Michelle Gellar to redeem everything else that’s wrong.

A disappointment for those of us hoping for something more authentic.

We’re not sure if Utopia Falls is going to get better than the first episode, which we found hokey at times. But we’ll keep watching just to hear more Snoop Dogg, and if the show improves, all the better.

While we like Beckinsale’s performance in Guilty Party, the show doesn’t seem to have enough story elements to really make us latch onto Beth or her quest to get her career back.

We’re just not sure that this is anything but a money grab by them and Netflix. ... We still recommend it to anyone who watched the first season and wants to find out more. But, it certainly isn’t essential watching to anyone, whether they liked the first season or were repulsed by it.

We’re tempted to say SKIP IT, mainly because we hate that Beast Games takes advantage of people’s greed and/or desperation for drama. But the second episode shows that the game will start getting really fun as we get down to a manageable group of contestants, and a lot of that is thanks to the enthusiasm of MrBeast and his hoodie-wearing buddies.

While not quite as intense as its first season, the second season of Suspect is still very watchable because of the well-paced half-hour episodes and a cast that can handle its tell-don’t-show storytelling.

We saw glimmers of a good show in the pilot, thanks to showrunners Alex Herschlag and Jennie Snyder Urman’s insistence on taking time to build the characters instead of going for cheap gags.

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.

If he says you shouldn’t trust what he says out of context while drunk and high in a three-hour long podcast, then perhaps you can get everything you need to know about him and decide for yourself by seeing and listening to what he says here while presumably stone cold sober but slightly sweaty for just over an hour.

A ghastly failure. The glossy adaptation of the Pulitzer Prize-winning novel of the same name flattens morally ambiguous characters into two-dimensional avatars of pure good and absolute evil.

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