Perhaps Allen Gregory's arrogance is meant to be entertaining, but I just found it mostly insufferable, despite his occasional flashes of self-awareness.

It's be one thing if the show employed thinly drawn, cliched characters in service of solid comedy, but very little of Glory Daze is actually funny.

No matter how many times the show piles on another complication for the patients of the week, everything about the characters and the cases has a been-there, done-that feeling, and that rote quality is not mitigated by the occasional acknowledgement of the show's jungle setting.

Not only are Whitney's jokes a little musty, the multi-camera format seems like the wrong choice for this comedy.

Unfortunately the new version of Being Human is more repetitive, clunky and melodramatic than the previous one.

Veep simply isn't particularly fresh or funny, and most of its jokes are telegraphed from a long way away.

Aside from the moments in which Stephen Moyer and a few supporting actors are on the screen, however, the show fails to ignite in any sustainable and meaningful way.

To really hook into this drama, you have to care about the kids and their fates, but to me, they all remained predictable types throughout, and the show did a poor job of showcasing the terrific Octavia Spencer.

So far, it's contrived, predictable and seemingly allergic to ambiguity and subtext.

Well, this is a pile of nonsense, but at least it's more or less inoffensive nonsense.

The show is so bland and forgettable that it gives me no real reason to return.

On paper, it all appears to be functional. In reality, I find myself uninterested in Ryan's minuscule problems and Wilfred's repeated attempts to hector or nag Ryan into taking more chances with his narrow little life.

A weird photocopy containing little atmosphere and less emotional resonance.

Karen Gillan is a treasure, and it's only by dint of her presence that this comedy works some of the time. Yet in a larger sense, "Selfie" does not really work, because there are a lot of unpleasant and judgmental elements lurking in its premise.

The New Normal needs to work in a more linear and emotionally direct fashion, and there's not much about this NBC pilot, which is fueled by a mixture of cattiness and slick manipulation, that reassures me on that front.

Every point is hammered home with a complete lack of subtlety; during the closing argument in the pilot, bits of previous scenes were replayed at crucial moments, in case the audience forgot what transpired several minutes ago. It's always a good time when a television network assumes that you're a half-wit.

I came away from HBO's five-part series with a great deal of respect for Winslet's impassioned performance, but so many other aspects of Mildred Pierce worked against Winslet's naturalistic style that parts of the miniseries ended up being, frankly, a slog.

Frankly, it's avant-garde to the point of feeling overwrought and pretentious.

The two leads lack any kind of chemistry, platonic or otherwise, and the storytelling lacks the smarts and insight of one of TV's best Sherlockian creations, "House."

For all its predictable moments, however, Made in Jersey is still more or less watchable, thanks to Montgomery, who is an effortlessly appealing actress.

Despite all the show's flaws, she makes some quieter emotional moments work, thanks to her undeniable presence and skills. The by-the-numbers vehicle that has been constructed around her isn't worthy of her talent, however.

Common Law, like "Fairly Legal" before it, isn't just formulaic--it's lazy.

This middling-to-mediocre Reelz production is at least a few notches above a Syfy Saturday night movie. The special effects in "Ring" are sometimes passable and sometimes fairly terrible, but there is an actual story on display and manages to be somewhat timely.

The second season of this Western finds it marginally better paced and the characters moderated a bit from the broad archetypes seen in Season 1, but I still find little to compel me in the story of a robber baron and an ex-soldier teaming up to get a transcontinental railroad built.

The drama, which is an adaptation of a U.K. series of the same name, tries way too hard to be a Serious Cable Drama. The strain almost turns it into a parody of the genre.

Rosewood brings nothing distinctive or memorable to the formula, aside from the welcome diversity of its cast.

Happy Endings is really no better than any of those other comedies ['Better With You,' 'Traffic Light' and 'Perfect Couples,'], which is to say, it's pretty weak.

As rendered here, none of its medical crises or characters are terribly compelling.