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.