Maybe network executives are just throwing their hands up for now and clearing the cupboard shelves of what’s left, which includes the funny, engaging Weird Loners.

It's an interesting and damning film but not as engrossing as HBO's recent "The Jinx" series.

There's little urgency to the storytelling, which is as slow-paced and easy-breezy as lying in a hammock strung between two palm trees on a Key West beach.

The network scores again with the clever, entertaining enough iZombie.

The season premiere makes a gentle effort to re-establish the show’s shrinking original cast.

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

The Royals is pretty much the entertainingly trashy prime-time soap you’d expect.

Powers doesn't get off to the the best start but the concept is strong and the world so detailed and cleverly built out that it's probably a series that bears some monitoring to see if it will improve.

The original French version of The Returned embraced spooky stillness, and the American version attempts to do this, too, but succeeds to a lesser extent. And while there’s at least a language barrier reason for remaking the French version of “The Returned”--unlike Fox’s “Gracepoint,” a remake of BBC America’s English-language “Broadchurch”--that’s still not enough creative justification for this identical, second version of the same show to exist.

It’s a smart, funny series, and it’s a relief to know Netflix saved it from what was sure to be terminal neglect had it aired on NBC.

It's one crazy mess of a TV "event series" that doesn't make much effort to clarify what it's about in the early going, plopping viewers into two concurrent plots that will presumably intersect at some point.

It's a thought-provoking drama that doesn't in its first three episodes seek easy black-and-white answers or scapegoats, painting all its characters in varying shades of gray. And while the characters are flawed, they are not insufferable as on NBC's "The Slap."

While there are still some improbable elements--would the nephew of the killer, Olly Stevens (Jonathan Bailey), really still be allowed to cover a relative's trial?--Broadchurch remains a tense, engrossing drama.

Fans of “CSI” shows will likely warm up to this latest franchise extension and viewers of more character-driven, less preposterous drama will ignore it like they have past “CSI” shows.

Netflix’s soapy House of Cards stumbles out of the gate in its third season with a first hour that’s short on lead character Frank Underwood (Kevin Spacey) and long on a supporting player whose foibles are by now a TV cliche.... but the show recovers in its second episode, returning the emphasis to Frank’s political brinksmanship.

As CBS procedurals go, Battle Creek is smarter and a little funnier than average.

One of the worst murder-mysteries to come along in a while, ABC’s Secrets & Lies is completely undone by its casting and writing.

The first half-hour is all setup, and while entertaining in its own way, with just one character, it's insular and unlike anything else on TV, which is always a tough sell for viewers conditioned to expect more of the same. The second episode gives Phil a much-needed sparring partner, which is funnier than the gags during his solitary existence.

Sex Box is not dull despite being a talky show, but it's also unclear how many times viewers can watch this before the relationship issues gets repetitive. As for the "therapy," it's pretty shallow and fleeting.

Truly funny interactions between Triumph and celebrities in the field get dropped into the studio-based inanity. The studio stuff is often dull, less funny and pathetically produced; it looks like some of the movies I made in high school.

The Odd Couple is genial--but not hilarious--multi-cam sitcom business as usual.

Bosch is by no means a revolutionary show like Amazon's "Transparent," but it offers smarter than usual cop drama fare, and it's certainly better than any cop show currently on a broadcast network.

Maybe in an airy Broadway theater the issues the show attempts to explore would play better, but on TV The Slap suffocates, packed with too many awful characters I don't want to spend another moment watching.

Saul isn’t a failure at all. Instead, Saul feels like a series with many of the hallmarks of classic “Breaking Bad” episodes that’s set in the familiar “Bad” universe, emphasizing a similar vibe that mixes personal drama with dark comedy.

Fans of podcast sensation “Serial” and anyone intrigued by a good character-driven murder mystery will want to jump on board HBO’s six-part documentary series The Jinx: The Life and Deaths of Robert Durst.

Allegiance is not terrible, although its characters are paper-thin, and, beyond feeling derivative, the show isn’t all that credible.

The cast of unknowns is terrific and the writing, overseen by executive producer Nahnatchka Khan (“Don’t Trust the B---- in Apartment 23”), is fresh, funny and mostly clean.

It's actually the supporting characters who make Breaking Greenville the most fun.