Seems like it should be a movie instead of a serialized weekly series.

The new cast is certainly game, expecially Cox, who has some terrific moves in her dance routines. And Adam Lambert crashes through a window on a motorcycle to perform a rollicking number. But what plot there is goes sideways in the last half-hour, just as in the movie. At that point, I just wanted it to be over.

Mostly the show, as these reality series are wont to do, follows the dysfunction within the family.

For anyone who's seen the "Spider-Man" films (or even the last, worst season of NBC's "Heroes"), there's little to recommend about this new series that has its bloated, two-hour debut.

Give this show the “Space Force” medal for unfunny comedy. And as bad as “Space Force” was, Netflix’s Steve Carell disappointment was still better than this dud.

More often than not, watching Drunk History is like being the only sober person at a party where none of the people present are your friends.

It's not a bad show, just nothing special or innovative. It's another plot-driven, bland character drama from executive producer Dick Wolf. [29 Sept 2001, p.C-6]

Forever is not a bad show--the pilot is pretty well made for what it is--but aspects of the premise feel awfully familiar.

Whatever the politics of it, The District is a decent drama. Not great, but certainly interesting, especially if it actually deals with issues of race and politics. [7 Oct 2000, p.B-8]

It's a cute concept but producers don't seem to have a knack for proper execution, filling time with terribly padded segments--picking teams takes an eternity--and challenges (watching people play chess in the premiere) that, try as they might, don't make for compelling TV.

By the 8:30 episode, the novelty of Pounder as a funny mother is gone, and it becomes abundantly clear the show has nothing to say and the writers are already spinning their wheels.

In episode two the tone lightens up a good bit – you can see network notes at work – and more typical CW storylines set in, including a romance with a bearded hunk (Casey Deidrick). This makes “In the Dark” more bearable but less unique.

It's a strange little show: A light-hearted half-hour caper that purports to be a comedy but isn't really that funny.

AMC is airing only the show’s first hour this weekend, and if it leaves viewers confused about the world, come back for episode two, which fills in a lot of blanks about the Badlands and its characters.

The songs, while hummable, aren't all that memorable, but the jokes about surf movies are amusing, although sure to be lost on the film's target audience.

The two-hour “Yellowstone” pilot is both talky and somewhat predictable as it establishes the characters, their relationships and conflicts. But future episodes offer more surprises and deepen the characters--flashbacks help establish why Beth is the way she is--making “Yellowstone” an enticing summer diversion.

“Love Life” lacks the HBO edge but it’s still the HBOiest of HBO Max’s early offerings, even as the characterization of Kendrick’s Darby is closer to Ally McBeal than Lena Dunham’s Hannah on “Girls.”

In its early episodes, Tyrant is as engaging when it focuses on family drama as when it veers more in the direction of taut, serialized, political thriller.

Hour fits comfortably, if unimaginatively, among CBS's other crime procedurals, but with only two regular cast members, it seems like it will have less character development than any of the "CSI" series.

Jane is a decent enough little show but it's difficult to imagine how its writers will manage to sustain the premise.

As a psychological thriller, it's not terrible--certainly better than Fox's dreadful monotonous "The Following"--but Those Who Kill suffers from character/relationship incoherence.

For the most part, the movie is a candy-colored whirl through the shoulder-padded late 1980s.

A serviceable if predictable single-camera comedy.

With the Chicago setting and local politics at play, “Pearson” sometimes resembles a watered-down version of “The Good Wife”/”The Good Fight.” Fans of “Suits” and Ms. Torres may still want to give “Pearson” a try but no one can blame them if they choose not to stick with this series.

An unexpectedly amusing comedy meal.

Imagine any "M• A• S• H"-style cliche and odds are good it will turn up in Combat Hospital whose predictability makes it a dull summer entry that may encourage viewers of this week's premiere to become deserters before next week's episode.

If you hate this genre, don't bother with Popular. But if you actually like spending time with teens or remember your own adolescence, Popular isn't the worst depiction of the not-so-wonderful years. [29 Sept 1999, p.E-1]

Fans of relationship-driven story-telling might just get hooked on this silly, lighter-than-air summer series.