While the performances in Agatha Christie’s Towards Zero are worth watching, we get the feeling most viewers who aren’t hardcore Christie fans will be to bored to hang in for the entire 3-hour run.

There’s nothing inherently wrong with this new version of Great Expectations, but we’re wondering why someone would seek out this longer, slower adaptation when there are other adaptations that get more to the heart of Dickens’ novel much faster.

We are always tempted to say that any new NCIS will appeal to fans of the franchise, but we’re just not sure about NCIS: Sydney. There’s snippets of hope here and there, but the overall setup seems clumsy, and much of the dialogue is just as clumsy as the setup.

I found The Girl Before frustrating, if not downright ludicrous at times.

Black Narcissus just doesn’t have enough story to latch onto and pay attention to for three hours. It’s slow and talky, and it doesn’t have any characters that you want to follow by the end of the first hour.

Disclaimer is too much time to spend with characters that the filmmaker regards with indifference at best and ignorance at worst. Cuarón renders this tale of rage, regret, and retribution in broad strokes. He loses the thread on their interiority, outsourcing the conveyance of their feelings to long-winded internal monologues.

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.

The Monster Of Florence is a depressing slog of a show that feels exploitative at times and disjointed at others.

In trying to make this sprawling narrative TV-friendly, a narrative momentum has been lost, with too many characters and too many timelines and situations going on at the same time. The three leads, Patel, Hewson and Green, all do good jobs with their roles, but the show just feels like it’s going to wander in the wilderness like the delirious Anna before it figures out where to go.

Though DOTA: Dragon’s Blood features some interesting elements here and there, overall it attempts to weave too many plot elements into one episode, which will undoubtedly become an issue as the series wears on. It’s also somehow less interesting than playing the game.

While the idea of hearing the story of Pablo Escobar’s son is intriguing, Dear Killer Nannies just doesn’t go deep enough into Juan Pablo Escobar’s life to make things interesting.

There’s novelty to be found in Pressure Cooker’s combination of two familiar formats, but ultimately you’re not seeing anything here that you haven’t seen before.

While we’re hoping that the TV version of True Lies gets better as it concentrates on the chemistry between Howey and Gonzaga, the rest of the show feels like an artifact from another age of network dramas, and not in a fun, Poker Face kind of way.

If you want to get a more complete picture of how Chppendales exploded in popularity and how Banerjee’s poor decisions led to his death, watch Curse Of The Chippendales or any of the other docuseries about the club’s history. Welcome To Chippendales is so over-fictionalized that it actually makes the story less compelling than the real thing.

While Murdaugh Murders is a somewhat concise guide to the murder charges around Alex Murdaugh, there are better options out there.

We were pretty bored by the first episode of The Trust: A Game Of Greed, and we’re not sure if the rest of the series is going to get any more interesting.

Even though House Of David will likely appeal to faith-based audiences, it still hasn’t been able to make its Biblical characters into people 21st century audiences can connect with.

There is actual potential in the new animated version of Good Times, but Shepard and her writers are too busy pushing the envelope to take advantage of that potential.

No amount of filmmaking flourishes, which we see when interviewees enter rooms, or turn to the camera, and other gimmicks, are going to make the viewer forget that they’ve seen all this before. Less gimmicks and more in-depth information on the particular parts of the event would have made for a better docuseries.

It gives me no pleasure to share that the show is now fixated on its characters complaining problems of the characters’ own making. In one episode, Midge literally thinks her biggest problem is not getting free milk. Worse, the once guillotine-sharp dialogue that made the Sherman-Palladinos favorites amongst TV snobs has been replaced with nonsensical dialogue that constantly loops back on itself.

The Republic of Sarah has its charms, but the premise is unsustainable and it’s larded down with too much “CW stuff” to give that premise a chance to make itself sustainable.

While Tampa Baes certainly gifts us with a few memorable reality characters, the show’s drama feels forced and the cast does not feel representative of Tampa’s diverse LGBTQ population.

The pilot of Outmatched is long on good ideas and short on smarts or funny lines, and that’s a disappointment.

Viewers who aren’t familiar with the facts surrounding the killing will find them well-presented in John Lennon: Murder Without a Trial, buttressed by eyewitness interviews. But ultimately, this docuseries is a SKIP IT. Conspiracy theories alluded to don’t materialize, and we’re left with a docuseries that wants to apply the structure of generic true crime to a momentous celebrity death.

Brand New Cherry Flavor has its high points, but its story isn’t unique enough and its weirdness seems like the free-floating kind that makes most viewers scratch their heads at what they’re seeing.

If you’re deeply invested in this soap opera and love sexy Spanish murder teens, watch it. However, the hedonistic joy of past seasons has been replaced by an icky feeling of dread. That — plus the fact that we don’t have a long history with any of the characters left — makes it a wee bit harder to root for new couples, old rivalries, and friendship to conquer all.

While Orozco is a charming lead, Just Alice has a highly annoying premise that we know is going to have to make a lot of written somersaults to keep it going for the entire first season.

Quarterback is a tightly-produced piece of sports television, but it doesn’t offer much insight beyond what you’d get in a Sunday pregame show.