Angry Boys will certainly have some appeal to fans of offbeat comedy but it seems unlikely to become a mainstream hit.

L.A. Shrinks is another Bravo guilty pleasure show. When the cast members aren't saying outrageous things, it can get kind of dull, but most of the time the dialogue is crazy enough to keep viewers entertained.

Director Kirk Thatcher is saddled with a fairly dated concept--family in crisis finds salvation off the grid with magical woodland monsters--that might have worked as a one-hour special but feels stretched to fill the film’s two-hour running time.

It's not cutting-edge storytelling, but there are some decent plot threads as the show introduces its characters, including a brash desk sergeant who is either testing a rookie or simply ordering her to do her dirty work.

They’re remaking The Tomorrow People and the results are just kind of “meh.”

Technically, Sharknado 2 is pretty much just as sloppy as the first film, with scenes that supposedly take place during a storm filled with streams of natural sunlight, but the amateurish quality is part of the franchise’s charm.

What the pilot lacks in smooth-flow niceties it makes up for in silly fun.

Three episodes in, I started to buy into the world Milch has created. I don't understand it, I don't think I even really like it (almost all of the characters are damaged and rather unpleasant), but I am intrigued by it.

Clearly this isn’t the comedy of the "Leave It to Beaver" era, but there are some laughs to be found in "The Mick," which is made tolerable thanks to Ms. Olson’s charm in spite of the character she plays.

The Kennedys has the look and feel of a 1980s miniseries, and it's not trying to be anything more exalted. Unlike "The Borgias" and "Camelot," its reach does not exceed its grasp.

The problem with "Reunion" is that beyond the show's gimmick, there's not much to draw viewers in. The characters lack depth and personality and the situations are -- yawn -- overly familiar.

The Millers won’t be confused with highbrow entertainment but taken on its own terms and thanks to a talented trio of cast members, it’s a welcome addition to CBS’s Thursday night comedy block.

It's not as funny as either of those hits ["The Big Bang Theory" and "Two and a Half Men"]--and certainly not as good a show as the superior "Bang"--but it is more enjoyable than "Rules of Engagement," which returns at mid-season (unfortunately).

Mostly the show dutifully doles out a lot of the special effects viewers expect from a supernatural series. But it’s all noise and explosions of light with scant attention to character development or relationship building (beyond the one obvious romance), something “True Blood” got right early on.

The single-camera comedy is not particularly memorable, but it could have been much worse.

As far as medical stories go, there's not much in Saving Hope viewers haven't seen before (and better) elsewhere, including on "Grey's Anatomy."

Undateable probably isn’t a show many sitcom fans will want to make a standing date to watch.

Although most viewers will notice a scale-down in the scope of effects and stunts, the style, the look and the impact are much the same as in the films.

They're a bland bunch of characters who say mildly amusing things--there's a pretty good riff on Mary Poppins--in occasionally funny situations, but in the end, "100 Questions" does not cry out to be added to any DVR lineup.

While there are some things to recommend about Lucky 7--the fresh faces in a cast of mostly unknown, diverse actors--the show is also one of those frustrating series where every character is desperate and too many of them make bad choices.

This is “True Lies” in title only. The film’s concept has been reduced to a paint-by-number, light CBS procedural. If that’s the type of programming you enjoy, have at it. Just don’t expect anything more.

Great as it is to see Ms. Badler again, her appearance can't save a show that's so poorly acted and written that the characters spout exposition but rarely say anything that sounds like something a real person would say. V looks and sounds like a cheap cable series rather than the big-budget network show it should be.

It's a shame that the writing makes Off the Map so unwatchable.

Flowers in the Attic plays it safe and a bit boring. This is material that screams for a campy touch, but director Deborah Chow and teleplay writer Kayla Alpert tell the tale with mostly straight faces.

Maybe if the cardboard secondary characters develop more dimensions and if the writing improves, "Battery Park" will have a longevity similar to that of its closest cop comedy antecedent, "Barney Miller." But don't count on it.

It's not that the show is terrible--it's not--but it brings nothing new to the firefighter drama format.

If not for the polarizing nature of its star--people who love her and hate her will tune in to revel in her Palin-ness or mock her for it--no one would be talking about this dull, derivative TV show.

At heart, Killer Women is a procedural drama with a surface-strong female protagonist; scratch the surface and it's the same easy, familiar programming.