Kind of hilarious. Kind of silly. Mostly a game of spot-the-cameo players and teasing about what moment a certain chainsaw will come in contact with certain bodies.

It’s goofy, but fun.

Insulting, derivative and neither credible nor fanciful.

Both [Undateable and "The Night Shift"] are NBC series serving as spring-summer filler, adequate at what they do but not worth scheduling your life around.

Now the novelty is wearing off, and the hour is edging toward vapidity. ... The story is too rooted in convention to be truly outrageous, too melodramatic to make it plausible as anything but goofy comedy. How long do we need to play along? [13 Oct 2005]

Both [Killer Women on ABC, "Intelligence" on CBS] feel like paint-by-numbers hours, unsatisfying offerings that are difficult to recall an hour after you've watched them.

Executive producer Melissa Rosenberg has crafted an off-putting start to a series that may have worked better in the Netherlands.

The old-school sketch comedy veterans pulled it off. They could help pass the time on a hot summer night. No rush. You could wait and catch a moment or two online.

Neither ["Welcome to Sweden" or Working the Engels] is awful, neither will make you cancel other plans.... A few bright ideas enliven the half-hour. But how many meddling mother jokes can they pile on before we’re weary?

Byrne is trapped in a mediocre effort he created with Rob Long of "Cheers" that's best forgotten.

So far, it's less funny than intriguing, a way to shake up the sitcom.... The series, the first scripted entry from Ryan Seacrest Productions, seems awfully superficial, at least in the first three episodes available for preview.

The debut is cinematically beautiful, the cast is top-notch, the story is compelling, the characters distinct, the music stirring. The question is, why now? [30 Dec 1997]

Think “Game of Thrones” for broadcast TV, minus dragons, with over-the-top melodrama, as much skin as broadcast TV will allow and bad dialog.

"Grey's" keeps the high-school analogy to itself. Emily Owens M.D. never stops making the too-obvious comparisons out loud.

The combo platter of drama, crime, family and lots of food porn doesn’t quite gel. Everything feels predictable, the downbeat tone spreads across the plate to infect performances and, ultimately, the audience.

It has the feel of a quirky cable comedy.

A gross-out cartoon. Fans of "Archer" likely won't sit still for the more juvenile antics of Unsupervised.

Both ["Undateable" and The Night Shift] are NBC series serving as spring-summer filler, adequate at what they do but not worth scheduling your life around.

Anger Management is a perfectly acceptable, standard-issue sitcom.

Kelsey Grammer gives his pompous-windbag act another whirl, this time opposite Martin Lawrence on the predictably old-school comedy Partners.

We know the body convulsing on the floor of the grand foyer isn't really being electrocuted. And yet we get sucked into the suspense and the gore as the players express fear, anxiety and tearful protests against being the next to die. ABC's amalgam of drama, murder mystery, parlor game and elimination competition for money is a curious mishmash.

The show will rise or fall on the chemistry of Lennon and Perry. Watching the two of them trade fastidious/sloppy, healthnut/unhealthy barbs is fun for a while. But that's the highlight. The scenes tend to stall when the boys aren't sparring, with the exception of Yvette Nicole Brown who pops as Oscar's put-upon assistant.

Footage from the actual races is compelling. But race footage accounts for a minimal portion of the otherwise dragged-out show, edited for suspenseful teases, sexual tension, dramatic reaction shots and maximum personality clashes.

Zero Hour wants to be as brilliant as "Lost" but, sorry to say, feels more akin to the misfire "FlashForward."

This one is excruciatingly unfunny, despite the good-natured young talent at the center. The show feels thrown together, the story so choppy you’d think scenes were scrambled in the editing room.

The adaptation fails spectacularly.

If the script by Liz Feldman (“Two Broke Girls”) were less tedious, if the acting by Cuthbert were bearable, if the whole enterprise were based on more than one joke... it might’ve worked.