Maybe "Mr. Mom: The Series" would have been revolutionary back in 1983 when the Michael Keaton movie was released, but 17 years later the concept is as fresh as month-old milk.

"Sex" proves to be a series with loads of appeal for viewers still mourning the cancellation of "Melrose Place."

Unlike "Jackie," nothing in Mercy feels real or believable, particularly the naivete of the recent grad student newbie nurse, who acts as if she's never been in a hospital.

There's nothing revolutionary about this story of four friends.

To be sure, there are interesting ideas floating around in Heathers but surely too many at once.

Showing the evidence really adds nothing as the story twists, turns and contorts itself in an attempt to keep viewers from tuning out before the hour is up.

Thoroughly average and unfailingly adequate, NBC's Lipstick Jungle is easier to like than ABC's cold, cynical "Cashmere Mafia," but that's like putting lipstick on a pig, albeit a pig dressed in couture.

Make no mistake, "3 Lbs." is a show that will better appeal to the CBS audience than "Smith" did, but it's a pretty generic show.

It's an OK CBS procedural where Weatherly's character, Dr. Jason Bull, always seems like the smartest guy in the room when he's running mock trials using a mock jury.

A soapy, shallow look at how gossip is currency in Hollywood.

It's basically a one-joke show--a guy in drag plays the leader of a clique of mean girls--that pales compared with the smart unpredictable chaos of comedy in "Getting On."

Maybe as an animated sketch on "Saturday Night Live," Allen Gregory would leave viewers eager for more. But in half-hour form, it's too much of the same.

"Big Day" doesn't feel like a big hit, but it is intermittently amusing.

The show is a manipulative tearjerker that uses this poor guy's real-life death sentence to milk tears out of viewers. And that makes it a little icky to watch. It's great that Childs gets all sorts of adventures but the blatant effort to wring tears out of viewers made me uncomfortable.

The show is gently entertaining in a way reminiscent of variety shows of old.

If you're bereft without new episodes of "House" this summer and willing to settle for a pale imitation, there's always Fox's Mental.

The acting talent here is marginal compared to the sitcom it replaces, "Out of Practice" (returning later in the season), but I found "Courting Alex" more enjoyable.

The CGI dinosaur renderings vary in quality, but the plot is fairly predictable from the get-go.

Sometimes I think she's brilliant, other times I think she's full of herself. Both sides come through in this fairly dull reality show.

Overcooked and preposterous to the point of being laughable.

To be fair, "Three Wishes" is touching. It is heartwarming to see nice things done for people in need. But it also feels like the show manipulates viewers.

A&E's The Hasselhoffs is not as morally objectionable as other shows have been (think: "Hot or Not," "Who Wants to Marry a Multi-Millionaire?"), but it is hands down the cheesiest, least realistic celeb-reality show ever. And mostly that's due to star David Hasselhoff's narration, which sounds like someone with no acting training trying to read dialogue.

Imaginary Mary would be more generic if it didn’t have Mary, but when she appears on screen with a grating voice that betrays Alice’s independent career woman id, it adds little comedy to the show.

At first glance... it comes off as silly sci-fi, a not-so-intriguing series that wades into all-too-similar waters as two other fall shows. The difference in this one is that the water is noticeably more shallow.

Imagine a low-rent “Game of Thrones” wannabe with bargain basement special effects and a paint-by-numbers plot and you’ve got a good conception of the fantasy drama "The Outpost."

Zero Hour is a terrible show. But for viewers who long to mock or hate-watch and for "Da Vinci Code" fans who like to be dragged along on a crazy ride to Crazytown, Zero Hour is a hoot.

Just as awful as "Locusts" was.

Midway through night two, however, the action begins to drag.

Go to bed early tonight. Your eyes will thank you for avoiding Lifetime's preposterous "Eyes."

It's another one of those dismissable, disposable, oh-so-slight comedies.

The pilot offers a deft introduction to the characters and their situations. It's just unfortunate that more care wasn't taken to create a show that feels fresh--The Deep End is rather moldy.

Everything about MacGyver feels rote--from the constant bombardment of brotastic banter between Angus MacGyver (a bland Lucas Till, “X-Men: Apocalypse”) and ex-military sidekick Jack Dalton (George Eads, “CSI”) to the entirely predictable plot of the pilot that lays track for a seasonlong arc--and imbued with a CBS house style.

This comedy is full of stock jokes, stock characters and even a stock premise.

The cutesy new-sisters vibe sits awkwardly next to the dad’s-accused-of-sexual-assault plot.

Dreary and dull. ... Betrayal may depict the most boring, sullen, sad-faced affair in TV history and that in itself is a betrayal of what the show promises.

It suffers from predictable jokes that are more likely to conjure a hint of a smile, not a belly laugh.

Mulaney feels dated, a throwback to '90s sitcoms that's out of place in Fox prime time in 2014. Maybe it would feel more at home on TV Land.

The pilot is not that funny as it trades in predictable gags about a woman who's competent at the office but a mess in her personal life.

Moonlight is just a weak, generic private-eye drama with a vampire story overlay.

Fox executives could have saved substantial production costs and achieved basically the same boring result by filming 14 randy monkeys in a cage containing only 10 bananas.

Backpakers benefits from filming on location in Europe but that can’t make up for the lowest common denominator escapades, which play like an unfunny, made-for-TV “Road Trip.”

Do No Harm is a ridiculous show with plenty of lines of groaner dialogue.

The show has a strong, likable cast--Mr. Chestnut, in particular, seems to be having fun--but when cliches pile up faster than clues, it’s time to change the channel.

Never mind the unbelievable premise -- the way the audience is introduced to it is so strained it's painful to watch.

The pilot plot... follows a well-worn path of sitcoms traceable back to when cavemen acted them out with large dinosaur bones as props.

Truly, all the actors on Guys with Kids--even the unknown children used as props--deserve better writing than what they get in this crummy, unimaginative sitcom.

Viewers who come to TV for smart, serious, sophisticated fare will likely hate this show while viewers just looking for something innocuous and entertaining will be more forgiving.

Dull, predictable, scuzzy drama set centuries in the future after everyone on the planet has lost their sight.

Romijin... [is] too cold and aloof to play the lead.

There's no need to go any further. Testees makes "Kath & Kim" look smart and savvy, a nearly impossible feat.

There's little that's surprising let alone interesting about Carpoolers despite the best efforts of an enthusiastic cast, most notably O'Connell.

The relationships are paint-by-numbers predictable as are the plots and Alex's I-know-better-than-everyone-else reactions. Heartbeat has a pulse but just barely.

Uncle Buck isn't the worst thing ever, but it is predictable and pat, going down all the expected avenues. It's entirely skippable.

Despite the cliched sitcom trappings... it's an amusing, if slight, diversion.

Obvious, dumb and mostly unfunny, One Big Happy is an embarrassment for all involved.

The pilot is relatively inert for a thriller as it pretty much tacks in all the expected directions.

It mostly plays like an unproduced early 1990s “Star Trek” spinoff, complete with holodecks, replicators, alien crew members and missions of the week. It’s also pretty dull.

Men at Work is mostly an unfunny, uninteresting look at four work buddies.

The show’s one-joke premise--parents can be such buttinskis!--wears thin fast despite the likability of Ms. Lavin and Mr. Gould. A few jokes manage to land, but mostly it’s predictable dialogue about what a smothering mother Ms. Lavin’s character is. There’s also way too much information about the state of Mr. Gould’s testicles.

Hank is the kind of show Dr. Frasier Crane would sneer at, which makes it particularly sad to see Kelsey Grammer reduced to starring in this ABC sitcom as a Dumb Daddy.

There's exactly one funny moment in the dreadful Fox sitcom I Hate My Teenage Daughter.

Subtlety is not this show's strong suit. That lack of tonal balance dooms the show.

Uninspired, obvious and just not that humorous, there’s little reason to make a plan to watch CBS’s latest in a string of disappointing new sitcoms.

If you're able to get past the ridiculous premise--and, admittedly, I was not --Outlaw still suffers from other problems, including two-dimensional supporting characters.

The new "Watching Ellie" is indeed improved. It's funnier, better paced and doesn't try so hard to be different. This works out for the better.

The show is gleefully rude in keeping with Ms. Handler's personal style, but 8:30 p.m. seems way too early for explicit sex jokes.

Because the movie tries to cover too much ground, it will be incoherent for those who don't already know the story, and disappointing for those who do. Worse, it is off-key in its presentation of both minor and major passages of his life.

Kath & Kim is based on an Australian hit series of the same name but this Americanized version is an unpleasant way to pass a half-hour.

The first episode does a nice enough job juxtaposing scenes from the original with parallel scenes in the present, but enjoying Fuller House will require a high tolerance for laugh tracks and corny sitcom humor.

The lead actors are slightly improved -- although Erik von Detten's hair is more expressive than his face -- but the story plods like one of the less graceful dinosaurs on screen.

Now it’s just a tired minor media property and product placement tool for Comcast, which gets name-checked multiple times. At this point, Sharknado deserves to sleep with the fishes.

A watered-down “Person of Interest” crossed with Fox’s failed “APB,” this time-waster stars Jeremy Piven as a Silicon Valley mogul touched by tragedy when his daughter is murdered, leading him to quit his company and create a crowd-sourced, crime-solving app. ... And to think CBS’s Sunday night was once home to a prestige drama like “The Good Wife” and now it’s a parking spot for this disappointment.

One can’t help but wish all this meta commentary had been grafted onto a better story and a better movie that didn’t feel like such a cheap rush job.

[A] cute wisp of a series.

Flash Gordon is a victim of pedestrian scripting. Worse yet, the characters are forced to spout too much exposition that betrays what should be the characters' natural reactions.

The result is not all that funny but more interesting than what most stand-up TV programs deliver.

An awful show about awful people.

One of the schlockiest, most amateur series to come along in the #PeakTV era, Syfy’s Hunters delivers a mashup of a terrorist-tracking drama and alien invasion story.

It's difficult to imagine many "Dancing" viewers will be suckered into watching this unimaginative, predictable comedy series for more than the first couple of minutes.

Seriously lacking in laughs.

There's a lot that's terrible about Bristol Palin: Life's a Tripp.... But this show adds additional layers of hypocrisy and silliness.

The United Colors of Benetton crew fights among themselves a lot, but viewers get such slight sketches of each character in early episodes, it’s hard to care about many of them. At least the space stuff is more interesting than the homefront melodrama.

The CW's Beauty is laughably bad in myriad ways. There's no sense of star-crossed lovers, just a plasticized romance between a Cover Girl and a glum, anger-prone male model.

The guys behave badly in mostly cliched and predictable ways.

It feels both orchestrated and dated, like a show whose time came and went around the same TV era that "Home Improvement" aired in.

Problem is, the characters are neither likeable enough to cheer for nor despicable enough to loathe. They're just sort of unformed lumps of gray clay with a few stereotypical streaks of color.

All the cliches of unscripted cable drama (like "The Real Housewives..." shows) are present, including in-fighting by a few members of the clique and ridiculous displays of opulence.

It appears Freddie Prinze Jr. studied at the Matt LeBlanc School of Acting given his mumbling performance and nice-guy-cum-neanderthal portrayal of Freddie Moreno.

No question, "Big Brother 2" makes for better TV than its boring predecessor, but it's still no "Survivor." [7 Jul 2001]

A light-hearted, comedic drama about four wealthy guys with women troubles and work problems.

It’s not a terrible show for fans of crime dramas but it’s not great either, occupying the same mushy middle ground as summer’s “Aquarius” on NBC.

Like so many of these relationship reality shows, The Bachelor is cheesy and the whiff of desperation wafting off the contestants is strong. A preview for future episodes promises jealousy, back stabbing and cat fights as the bachelorettes vie for the main man...What do you want to bet this one won't make the National Organization for Women's Top 10? [22 Mar 2002, p.36]

What is it about this television season that made TV executives say, "I think what Americans want to watch in a sitcom is people taunting, disrespecting and insulting one another"?...Insult humor courses through the veins of Fox's Luis, an alleged comedy that provides few laughs.

There's little in Donny! that's surprising or unpredictable but as "soft-scripted" comedies go, it has the occasional funny moment. But mostly it's just another comedy with a cringeworthy Dumb Daddy (Donny Deutsch) lead character that's easily skippable.

Although the series hypocritically and formulaically exploits stereotypes before proving some of them wrong, "Survival of the Richest" is rich in entertainment value in spite of itself.

An often lighthearted medical show set in a Los Angeles fertility clinic, NBC's "Inconceivable" lacks the grit of "ER," the heart of "Scrubs" and the soapy shenanigans of "Grey's Anatomy," leaving an empty husk of a series.

The screenplay seems more likely to have been transcribed by those guys with the plot dreamed up by an imaginative child or a drunken fanboy. Visually, the film is poorly directed sometimes to a point of such incoherence that it's not always clear what's going on, who's talking, etc. And the ending is laughably awkward.

George Lopez’s Saint George [is], another mediocre, three-camera sitcom with nothing new to say.