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.