Fans of these true crime shows may be intrigued by My Life Is a Lifetime Movie but viewers hoping for a series as irreverent as this title suggests may be disappointed.

It's an intriguing drama with an enjoyably creepy vibe. [2 Jan 2005]

Sometimes the aliens-as-immigrants rhetoric is a little too on the nose but as remakes go, this iteration of “Roswell” seems like it will appeal to the current CW audience.

The show may not hold the attention of TV fans who crave complex storytelling--there's not much for fans of psychologically intriguing character development to dig into--but for viewers who enjoy a steady USA diet, Graceland may darken the network's Blue Sky programming approach just enough to intrigue.

The investigations are intriguing. The investigators are blah, their relationships a poorly defined muddle. [6 Oct 2000, p.44]

Comfort food appeal to some viewers who could certainly do worse than this series that tends to be more lighthearted (listen for the bouncy music soundtrack), with enjoyably quirky supporting characters. It’s just unfortunate the show’s primary story is often overwrought and obvious.

This retelling of the Arthurian legend feels overly familiar and there's just not enough that's new or different to make it worthwhile.

It's entertaining enough if real-life make-it-or-break-it tension is what you're looking for in TV. That's also a bit of better-them-than-me satisfaction that comes in watching this and all the Tough Guy TV shows. Gold Rush has the added element of will-they-or-won't-they make it rich.

Although Friday's season premiere is a bit confusing at times, the Spartacus world comes into better focus in episode two.

The show is inoffensive, tedious pabulum with forced postal humor.

Once you get past the sex and if you can endure the sadness of the stories, Tell Me begins to have an addictive quality.

Business buffs may love it, but Shark Tank lacks the lush visuals of "Survivor" and the star power of Trump. It just doesn't have the same bite.

"The Lost Room" is certainly a more creative exercise than past Sci Fi miniseries (including "The Triangle"), but it sometimes feels rushed.

While this series also begins with an unwieldy amount of place-setting involving a war that led to the current refugee crisis, “Carnival Row” proves more palatable than “The Dark Crystal.” The Amazon series is easier to follow even as it introduces initially-unconnected characters in multiple social classes. This gives “Carnival Row” plenty of areas to explore. If only it all felt more unique.

It’s all a little too on-the-nose and predictable. Falco is fantastic as always, but the writing in early episodes lacks anything approaching the nuance and sophistication of Falco’s past series, “The Sopranos” and “Nurse Jackie.”

It comes across as a rather dull, ineptly produced program that looks like it was filmed with dated technology in plodding style.

It's a static look that makes these half-hour shows a bit tough to endure visually (don't try watching two episodes back-to-back). This format lends itself better to web shorts but it is fun to see Dr. Wallice's world expanded, especially for fans of comedy that doesn't telegraph a joke well in advance.

Aggressively dumb, sex-obsessed and occasionally misogynistic.

“Council of Dads” is a better show and less blatantly manipulative than last year’s post-“This is Us” NBC series, “The Village,” but “Council” still piles on the dramatic plot turns in ways that are easy to spot a mile away, though occasionally unpredictable (and maybe even confusing for some viewers). It’s a LOT of drama to absorb all the same.

It's a high-quality reality show about creating a mid-range dining experience.

A lethal robot (Zoie Palmer), who tries to kill one of the six before they wipe her memory. She then sets about reconstructing the ship’s data, eventually learning the ship’s destination and their possible purpose that throws everything the audience has learned in the show’s first hour into question. It’s a good twist. What Dark Matter makes of it in future episodes remains to be seen.

Aggressively unpleasant and unrepentantly nihilistic, Syfy’s Deadly Classis likely to have limited appeal.

There are moments when Shades of Blue feels like more than the sum of its recycled parts but then there's a manipulative, tension-filled scene that tacks in just the direction a savvy viewer could predict.

It's one thing to laugh at characters on TV shows who behave foolishly, who deserve to be mocked. Valerie's crimes for the sake of comedy are nothing more than aging with an undiminished Hollywood ego. It's a little funny at first, but it quickly turns sad, something you want to look away from, not laugh about. [2 June 2005, p.WE-37]

Parks has its funny moments but the comedy's first episode also has a distant and chilly feel to it.

It’s a dark, sometimes dreary Lost in Space with great special effects and some interesting character relationships that sit awkwardly alongside predictable plots.

"Glee" benefitted from the novelty of its musical performance and high-camp humor. Red Band Society has almost no unique attributes, which renders it an OK but not outstanding teen soap.

To be sure, Grace and Frankie is better than CBS’s recent “Odd Couple” reboot but Grace and Frankie does feel like a network sitcom (minus the laugh track), maybe “Friends: The Golden Years” if the focus was on Monica and Phoebe (and if Chandler and Joey became a couple).