More work needs to be done on all the characters; so far they're just types, and the first episode, perhaps because of its manic tone, didn't make me laugh much. But I can see Breaking In growing into a pleasant, mildly goofy comedy that offers the light-adventure qualities of a USA or TNT show and the silly diversions of a half-decent 'Chuck' episode.

Mr. Sunshine isn't particularly hilarious or endearing, and the comedy doesn't surround Perry with a balanced ensemble of characters who get to be funny as well.

It's surprising to me that this ever got past the development stage, because nothing about Tyrant truly works. It's a halting, strained hodgepodge that ends up being an awkward mixture of bland and offensive.

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

It's mildly amusing, but it comes off as an extended appetizer, not a meal.

The problem is, like "Sean Saves the World" and "The Michael J. Fox Show," this show is formulaic, slightly frantic and relies too much on unearned sentiment.

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

It'll likely be a typical CBS sitcom going forward: full of broad characters and predictable moments but reasonably amusing and well made.

Unless the show improves from this more or less adequate premiere and shows consistent flair and originality, I can’t in good conscience recommend Heroes Reborn over the sterling comic books, new and old, the property continues to imitate.

While it's no "Closer," the Eric McCormack vehicle Perception is perfectly adequate "Eccentric Consulting Genius" fare.

At least Lewis appeared to be having fun, which can't be said of anyone else in this rather grim production.

The Goldbergs has a solid adult cast, but the whole thing leans heavily on broad humor and cartoonish moments--and did I mention that it's LOUD.

The end result is ... merely OK.

It's hard to find much in Backstrom that feels fresh or original.

For all its formulaic predictability, though, this show has an acerbic self-awareness that may defuse the cynicism you may bring to it.

I found Free Agents more than tolerable, and there's potential in the office ensemble that surrounds these two characters (though I wouldn't mind if the super-sass of Natasha Leggero's assistant character was toned down a bit).

This is a case of a show just not working on both a structural and emotional level.

The actors have no chemistry together and their characters lack the kind of depth and texture that a well-crafted TV project would have been able to give them. Various actors frequently have to deliver painful exposition dumps, the storytelling is often incoherent.

There's a tentative blandness to 'Star-Crossed' that hindered my ability to care about any of its broadly sketched characters.

The only thing I can think about when I watch the Millers is that Margo Martindale deserves so much better than this, and I wish she was free of this show's hackneyed, overly broad "humor."

The show takes the time to give a few realistic dimensions to the characters' emotional lives, and each actor in the core trio has sharp comic timing.

Undateable, a show that does not set out to reinvent the multi-camera hangout comedy but execute that format reasonably well, turned out to be a generally pleasant surprise.

V needs to either camp it up completely or go in the other direction and model itself after propulsive dramas such as '24.' The show's attempts meld those two very different tones together just makes for an awkward mismatch.

I found little to object to in the pilot for Chaos, a mostly male action-adventure hour that is energetic and mildly amusing from time to time.

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.

Hawkins does a solid job filling Jack’s familiar shoes.

This just doesn't work on any level and creates very little suspense, even in life-or-death situations.

Good comedies take a lot of work, but that strain shouldn't show up on the screen. It pains me to say that, despite all the obvious effort, I can't see how Running Wilde could get significantly better.