The show is fun, through, but kind of lightweight, a nice respite from an intense show like “Breaking Bad” or “The Americans.”

While it struts and frets and boasts some top-notch actors, I’m not sure it has anything in mind other than being weirdly entertaining.

As a film, it’s all over the place, but in some ways its crazy-quilt nature suits its subjects and succeeds as a touching portrait of a unique mother and daughter.

Trollhunters has a nice vibe to it. There is an ’80s “Goonies” flair, but it is also has intelligence and flashes of wit, such as when a creature hums “In the Hall of the Mountain King” by Edvard Grieg as it goes in for a kill, or when Toby finds out Juliet dies in “Romeo and Juliet.” Otherwise Trollhunters follows the formula for these sorts of stories, uncomfortable teen by day and superhero at night.

For what it is--something serviceable to fit in CBS’s Saturday lineup--Ransom will do, but pretty much is a square peg fitting in a square hole.

The series, created by Adam Nussdorf and executive produced by “Heroes” creator Tim Kring, hardly feels new. We have seen this person who gets unwanted special powers thing before. But because all 10 episodes are available at once, you might find yourself meandering along before you know it.

Although Olson and the cast give it their all, “The Mick” is no fun.

Season 2 definitely has more action and digs deeper into the mystery, at least in the five episodes made available.

Incorporated is just one of another grim dystopian futures we have become so fond of. Hey, it could be dead-on, but it really doesn’t have a lot to offer. There will be a few parallels to today, and it is mildly diverting as a thriller, but we have seen it before, even if it is the future.

McHale, the “Community” veteran, is enjoyable. The jokes aren’t bad, and it’s fun having Fry as the out-of-touch editor. Based on the first episode, though, the show is hit and miss. The premise is stretched every which way, but somehow Indoors seem a bit claustrophobic.

The brilliant Black Mirror returns Friday for a third season--and its best one yet--on Netflix with six new episodes.

There is nothing new in Killing Reagan from filmmaker Rod Lurie. ... Better to read a book--not O’Reilly’s--but a real history of the man’s life.

The series has the sophistication of PBS’s “Downton Abbey,” only with more laughs. There is something quite modern about the Durrells without it feeling false.

The series seems to want to exist somewhere between a Pee-wee Herman world, where Miranda exists within her own reality, and “Waiting for Guffman” or other parodies of self-important clueless people. It doesn’t succeed as either, nor on its own terms.

The mystery along with its intriguing premise might have been enough, but the main problem with the show is the slow pacing. It’s easy to drift.

Once called “The Second Fattest Housewife in Westport,” the series hits the usual notes but doesn’t sing.

The fantasy-dramedy is cute enough, though it doesn’t have the endearing daffiness of “Jane.” Tori Anderson and Joshua Sasse, who play Evie and Xavier, have a nice chemistry.

Much of this is pretty standard stuff, part legal drama, part soap. Atwell, though, is always so lively and interesting to watch. But the material may sink her at the end.

Versailles has glamor and spectacle, but it’s hardly an epic drama. It dreamily drifts along for the first few episodes, introducing the characters and concentrating on outrageous behavior. All the military-strategy sessions blur together.

Judging by the first episode, The Exorcist works as both a tribute to the original as well as on its own terms. There is something of a family drama inside the scares, which gives the idea of making a series out of it more staying power.

It looks like Sutherland has another winner on his hands.

Eventually, though, what emerges in the series is a nuanced--if slightly bizarre--portrait of a woman in distress.

The network was probably aiming for “Scandal,” but by the end of the first episode the mix of ridiculous plot twists and awful soap-opera-ish dialogue make you wonder if “Scrambled” might not have been more appropriate title.

The sheer exuberance of Speechless and the unsentimental way it approaches its premise ultimately makes the ABC family comedy likable, funny and even touching.

For the most part, Pitch is an engaging drama about a woman negotiating a man's world with the added glitz of big-time sports. Bunbury has the charisma needed for the role.

It’s off to a good start.

While the series tries to dazzle you with high-tech sophistication, it fumbles around when it comes to the human factors.

There is an old axiom that says you should not confuse sex with love. The fourth season of Masters of Sex lands squarely and entertainingly right in the middle of that potential mess.

The first episode is very uneven, busily attempting to check all the boxes so it can get back to being a procedural. If that is the case, there aren’t enough tattoos on Jane’s body to make it compelling.

During the first two years, Halt and Catch Fire has smoldered, sometimes frustratingly so, but has always been engaging, often thanks to the performances of Bishé and Davis. Judging by five episodes of season three, it looks like the show is finally catching fire.

Vice Principals has some weird twists, like Russell’s home life, that keep the show vaguely watchable at times, but it doesn’t have enough laughs and or a satirical bite to keep it propped up.

The show suffers when it’s away from Johnson, lacking any real focus. Individual moments can be fine, but they seem strung together rather than part of a cohesive vision.

It doesn’t break any new ground, but unlike most crime procedurals, it’s neither facile nor jokey. Whether in the end Naz is guilty or innocent may not matter. The series ultimately succeeds on its mystery and as a provocative trip through the justice system.

The series doesn’t measure up to top-flight Attenborough, who is working on “Planet Earth II,” but it is mostly fascinating as well as, of course, informative.

In many ways, the new season of Jenji Kohan’s Emmy-nominated drama is as impressive as ever, but you may need a scorecard to sort out all the players. Most of the stories are engaging; others seem like simple diversions.

Most of the dramatizations are functional, although a few border on cheesy.

While the two-hour movie was a wild ride, slow the pace down for television and the boys aren’t as much fun to hang with. Barkin is the best reason to watch. Always a restlessly interesting actress, Smurf gives her lots to play with, and she makes the role her own.

The 7½ hour documentary airing on ABC and ESPN is often exceptional and riveting television.

Only three episodes were available for viewing. Outcast is, at best, serviceable for a late Friday night horror tale, but I’m not anxious to hang around.

Though lightly entertaining, the series needs a bit more character grounding. So far Weston and Mangan are quite good as the flamboyant famous characters, but the scripts will have to flesh them out more. That may never happen.

The series isn’t striving for reality, although it reflects a dysfunctional one. It’s going straight for laughs, and there are plenty of those. ... It’s Louis-Dreyfus’ presence, though, that makes Veep top-notch.

Silicon Valley remains one of the best comedies on television.

Although the dialogue is occasionally a bit cute, the rest of the cast comes across as mostly solid and believable.

k. “Sesame Street” episode. This can seem frustrating if you care, but the TV show does it all with a sense of bravado that allows you to overlook any internal logic issues.

The series can be pretty dark, but it’s worth investigating.

While it mostly traffics in the idea of trying to right the past and how that can go so very wrong, it doesn’t get bogged down, instead letting the action and mystery drive the story. For what it is, you likely will be entertained while watching it, but it probably won’t stick with you very long.

There are a lot of ambient and random sounds in the episodes, which makes things seem more ominous than any tension generated by the story. Apart from that musical wrinkle, Hunters is overly familiar, essentially a generic crime show in a sci-fi case.

While an occasionally revealing portrait, Nothing Left Unsaid doesn’t strive for anything concrete. There is a nostalgic wistfulness to it. Had it been done about someone with a less-storied life, it might have fallen apart, but Vanderbilt has become something of a character herself.

It is Balfe, who also received a Globe nomination, whom the series rests on, and she remains a captivating Claire. The actress brings a playfulness and an ethereal presence to the role, which are attributes essential for someone caught between two worlds.compelling drama

Netflix’s new multicamera sitcom, The Ranch, will seem familiar enough for fans of the genre, but it’s enjoyable and inventive enough to make you think there is still life left in the well-worn TV staple.

The best thing about the series is its likeable cast. ... With only one episode available, it’s hard to tell if Rush Hour will offer up more than its light and breezy attitude. No one is looking to weigh it down, but if turns into a mystery-of-the-week procedural, the jokes and action will get old fast.

What benefits the series most is its strong cast to take on these intricate roles, which might fall flat otherwise. Paul, Monaghan and Dancy are outstanding as very flawed people, whose fate you can care about; they aren’t evil but at times susceptible to their own demons and blinded by their faith.

There are a few things The Catch will need to establish before taking off. For instance, it’s a bit hard to buy Alice’s and Ben’s instant attraction. But as light entertainment, the show flies by pretty quickly, a good fit for the #TGIT playground.

While the likable cast--which includes D.L. Hughley, Jamie Kennedy and Maya Erskine--is easy to root for, there is little else to distinguish Heartbeat from numerous other medical shows.

Bosch is a welcome change of pace from the many procedurals on the networks, especially those that overwhelm their stories with technological jargon. Amazon’s 10-epsiode series is perfect to binge on, a long, involving mystery in which the detective still does leg work.

The story of David has always fascinated because it contains so many universal dramatic and psychological elements. This is not the worst version of the tale, just a pedestrian one.

Not bad if it’s your thing.

Season Four promises some fascinating possibilities. Netflix is determined to keep spoilers under wraps, but we can say there will definitely be surprises, and the show will be graced by the strong presence of tough females.

Appreciating Fuller House will depend a lot on how much you enjoyed the original, which ran eight seasons on ABC. The new show displays enough of its own personality to be a bit more than simply nostalgia. By the third episode--on which singer Macy Gray guests--it even starts to develop some loopy fun with a dance-off at a local club.

The first few episodes of Love careen from being clever and funny to some intentionally cringeworthy moments. The challenge for the series, which has already been renewed for a second season, is to have Mickey and Gus begin to see the light. Otherwise, the show paints a humorous, if somewhat disquieting, picture of the dating scene in L.A. and is populated by some likable auxiliary characters.

The series has an impressive feel and period look to it. The first episode directed by Kevin Macdonald (“The Last King of Scotland”) deftly opens up mysteries and invites you into the strangeness. Adapted by Bridget Carpenter, 11.22.63 isn’t for everyone. You have to like what-if fantasy stories. But like many of King’s stories, once you’re in, you’re in. Enjoy the trip.

Watching the series is a bit like skipping through the magazine--a little of this, a little of that, always interesting.

Throughout Homegrown, the four of them [The daughter of a victim and the shooter’s brother. And the sister of a young man found guilty of incitement to commit acts of terrorism and a government analyst who helped make the decision that the man was a threat to the U.S.] offer articulate discussions of their situations and feelings, which gives this compelling documentary added impact.

Fox’s new comedy-drama Lucifer has a similar premise [as "Death Takes a Holiday and "Meet Joe Black"], but without the sap and more zip and lip. But (and you saw this coming), the devil is in the details.... Uneven but mostly fun.

The students of Brakebills have never fit in and aren’t part of a hierarchy, and, like a lot of young people, can be their own worst enemy. So far The Magicians played off those reverse expectations fairly well, and has a more hip Gothic atmosphere to it. It will be interesting to see if it can keep all the balls flying in the air.

Wacky is probably the best word for You, Me and the Apocalypse, created by Iain Hollands. But give the series credit, each episode keeps upping the weirdness, comedy and, surprisingly, the dramatic ante. It’s unexpectedly good.

After the characters try to explain the timeline once too often, it gets confusing and you just stop caring about what's going on. So even if the cast is pretty good, which it is, and even if the show has some excitement at times, Legends--so far--comes off as something of a mishmash of a mash-up.

It is never as compelling nor as dark as that series [Mr. Robot], but after three episodes Colony zigs and zags often and has enough action to keep your interest.

Not exactly a new premise, but the new Fox action-drama has enough of a twist to make it make it worth checking out.

Graham has updated the story pretty well, while overstuffing it a bit. Nevertheless, the miniseries keeps the novelist’s questions about mankind’s destiny percolating throughout and never really lets you lose interest.

Its uneven but intriguing first four episodes.... It hints at a compelling future, with various factions vying for control. But it isn’t out to wow you early on, taking its time to develop its characters and the relationships. If your expectations aren’t too high--and it’s not “Battlestar Galactica” yet--The Expanse could just be what you’re looking in.

While, at first, the actress may not look like the superhero type, she convincingly gives Jessica a subtle toughness. In a way, the character is the flip side of Supergirl: Jones is a reluctant superhero, a loner who drinks too much and has real human flaws. Yet Ritter gives Jessica a needed likability. The series also boasts a solid supporting cast.

While all of this may seem out of the past, there is something naggingly familiar, eerily fascinating and even contemporary about much of The Knick.

What sets the comedian apart from her male and female counterparts is that she scores laughs mostly from saying the outrageous so matter-of-fact-ly, even sweetly. Nothing seems out of bounds to her, but she doesn’t go out of her way to find something offensive, either.

Truth Be Told is probably not worth your time. While it tries to be edgy, most of its humor is fairly tame.

The second season of FX’s Emmy-winning limited series has a new cast and mystery, and it promises to be even more fun and weirder than the first.

It’s standard sitcom stuff, but those elements don’t mesh well enough on the series even to reach that low Friday-night bar.... Dr. Ken is disjointed and, worse, not really funny.

It can never have the immediacy of Ryan McGarry’s documentary about County/USC that inspired it, but the series does capture the film’s spirit and that is a welcome change when it comes to medical dramas. Harden, as usual, provides a strong presence, which helps anchor the show, and Guzman is a plus for any series. Code Black is worth keeping an eye on.

Although a bit over-frenetic at times, the series seems to take inspiration from a man-on-the run Hitchcock thriller.... So far it’s one of the most-promising new shows, and Chopra is someone worth keeping an eye on.

So far the storytelling on Blood & Oil has been crude and obvious.

This is a pretty lively Whovian world.... Clara is the sunshine to the Doctor's sadness, and Coleman makes her shine.

It's hard to see where this all might be going. A nebulous nefarious cabal betting on the outcome of crimes may be the strangest of some of the strange premises for shows this fall, but Winchester is good at being the action hero. If you enjoy that, you might enjoy the show.

Limitless makes for a lively show with an addictive potential.

Peppered in are some humor, like funny references to the past when Lara’s mom saying she met her husband on Tinder, or when Dash uses his abilities for more than seeing crime, like knowing when bird poop is dropping. However, you wish that the show would have been less zippy, less procedural. It hints at dire aftereffects of Precrime, but doesn’t go much beyond that.

It’s difficult to get much of a clear sense of the characters. Still, it’s an excellent cast who bring their own strengths to the roles.

The thriller created by Martin Gero can seem overly intricate at times, but the conspiracy doesn’t get in the way of the show’s early momentum. Where it goes from here is definitely worth checking out.

If crazed killings and macabre laughs aren’t your thing, you may want to avoid the show. So far, though, Scream Queens is outlandishly fun.

Ferrell Takes the Field may not be overly funny, but it’s amusing, especially for baseball fans.