The weirdness is welcome, the concept has merit, but the execution leaves a lot to be desired.

The New Normal needs to take a deep breath, get off the soapbox and get funny fast. The right elements--talented cast and showrunner--are already in place.

Cynical, randy, derivative and as wearily familiar as a cup of cheap joe, "Freddie" is also expertly cast, acted, written and directed.

Sure, it's summer and the viewing is easy--and Zoo is about as easy as it gets. There is some fun here, or potentially some fun.

Linney is a fine actress, but her material here doesn't match her talents.

Mirren will get an Emmy nod for this because she's Mirren. She is a great actress, and she's certainly good here. A pity she'll get that nod for so cramped a story.

"Drive" is less the sort of textured character study we've come to expect than an action-packed joy ride. That's not to say you won't wanna hop in. But it's hardly a journey you've gotta take.

It feels to me like CBS wanted a military heroism series, and the producers provided one, and here it is.

I think I comprise a third type--a wary Weeds fan who's happy it's back but hardly ecstatic.

Nice, also determinedly dull.

There's an almost overwhelming been-there-seen-that feel to the pilot, which doesn't really offer any suggestion of "well, you haven't seen this."

Some brief memorable performances, particularly Cusack as a tippling housewife. Otherwise, an inexplicable misfire.

Mostly boilerplate CBS procedural but at least the horses look great.

James fans will love this overstuffed commercial for NASCAR and its many sponsors.

The cast in fact is terrific. (It also includes Norbert Leo Butz, Peter Gerety and AnnaSophia Robb.) A cramped, airless setting is the critical flaw here. Nothing comes to life--words, drama or most of all, characters.

Coel's a great talent — no doubt about that — but this can be an aggravating, unfocused sprawl at times. The power and horror of Arabella's ordeal is the unintended casualty.

The makers of "Them: Covenant" ask their audience to endure scenes of horrific abuse that are unearned by their broader framework.

Well-crafted sitcom, but Goggins takes some getting used to.

There's a wonderful cast here... There's even an intriguing core idea... But the show also feels phony from beginning to end.

Every single scene, and just about every line, will remind you that this is an unapologetically, gloriously idiotic enterprise. ... For discriminating viewers; shark lovers; sharks; meteorologists: F. For “Sharknado” fans: B

Its heart's in the right place, it's the comedy part that's not.

Outlaw isn't bad as much as bogus. The whole faulty premise creaks and groans under the weight of a now-you-see-it-now-you-don't shell game, as key plot points zip by, then are quickly tucked back under their shell in the vain hope you won't remember them, or maybe take them at face value.

With all this time spent checking off genre boxes, there’s scant space for the narrative to breathe beyond them.

Mildly amusing, though take out some of the harsh language and you've got more of a Disney Channel or TeenNick series than a memorable Fox one.

Purefoy brings some raffish charm to the role, but these days, who wants to embrace raffish philandering philanthropists--particularly ones so defiantly dim.

Dumb premise threatens to sink promising series.

Noah's Daily Show at once felt confident but also oddly tentative. Smoothly delivered but uneven.... Not quite a rocky start, but not an emphatically comforting one for fans either.

To love "Smith" is to love an ice cube. There may be a cold beauty to the craftsmanship of this enterprise, but there's a pinched, frostbitten heart at the center of it as well.