If you can get past the sermonizing, there maybe a story worth seeing here.

What makes the series click are the peripheral characters. Margot Bingham plays a detective who thought she solved the case, and Florina Lima is the newspaper reporter who suspects something’s hinky with the Warrens. The best is veteran actor Andrew McCarthy, who plays the neighbor imprisoned for the boy’s murder and released after his sudden return. He is intense and scary.

Bosch’s dialogue is clunky at times, especially in scenes involving Bosch and his superiors. They look like somebody scolding a puppy and are hard to take very seriously. But the story is compelling.

What del Toro, Hogan and Cuse are extremely good at here is suspense and horror.

Because it’s so dark, and all the characters--like the teenage daughter--are destructive, it comes off as extremely depressing, even difficult to watch.

This is just a straightforward whodunit--a summer escape.

The pilot ends with a big reveal (and more mystery), kicking off what is shaping up to be some great summer escapism.

Shades is not stellar--it’s a little over the top in playing up the conflict--it has some grit to it. If anything, it’s kind of fun seeing Lopez kick some butt and take no prisoners.

The fun is trying to figure out if Lynch’s character is delusional or really an angel.

This one is intended for adults that, if it was a film, it would carry a PG-13 rating. It’s gritty and violent. And also visually spectacular.

Gillies is great when going toe to toe with Leary, and she can sing to boot. As for Leary, well, he’s playing himself again, and if you’re fan, you’ll love it, and if you’re not, you won’t.

The cases are what propel the drama, but it's the high-profile cast that will keep viewers coming back.

Not only is Raines a crook, but she’s an alcoholic and an addict. It takes some getting used to seeing Dockery in this role. Botto, though, is perfect, suave and sinister as the hitman.

Atlanta is deep, even a tad dark, and refreshingly different from the screwball wackiness of “Community.”

Shooter doesn’t take off until the second episode. Part of the pilot is sleep-inducing, especially when Swagger’s trying to figure out how a sniper would take out his target. But once Swagger begins “hunting” those who have wronged him, it becomes an enjoyable rollercoaster ride.

Dominion is dark, and the angels portrayed here are scary--not the heavenly do-gooders we’ve come to know them as through other media. Based on the pilot episode, good has a long way to go before it can overcome evil--if that’s even possible.

This one has promise because it’s not formulaic. I have no idea where it’s headed, which is kind of nice for a change.

Loners is goofy--the same way Knighton’s “Happy Endings” was--and that’s what makes it so fun.

Watch this one just for Zahn’s performance.

Like “Lost,” you’ll be left with more questions than answers by pilot’s end.... Should be a fun ride.

Outside the courtroom is where the drama finds its feet.

Unlike the previous six seasons, there is no supernatural element to this one. It’s just people being unsavory people, which is scary enough.

Oh my goodness is this one filled with testosterone, reminding me a bit of FX’s “Sons of Anarchy.” ... Watch for Shawn Hatosy (“Southland”). He's creepy good as the whacko son with a mean streak.

The good thing about procedurals is you can come and go and not miss much. The bad thing about procedurals is you can come and go and not miss much. Holloway, though, should be enough to keep you coming back.

The story, like it did in early 1990s, grabs your attention. The actors are the reason it keeps it.

If you’ve enjoyed “Sons,” you’ll be taken with Executioner. Sutter’s swapped swords and horses for the guns and motorcycles.

The pilot is a little uneven. There’s a villain (played by Martin Donovan) within the government, but his agenda is extremely unclear, and the story of the recovering alcoholic dad seems to have little connection to the lottery. Still, the premise is intriguing--a “what if” kind of science fiction story that makes you think.

O’Mara is intense as a man backed into a corner, but the series needs to do more with the supporting players.

Where Robinson excels are in the scenes with him leading his funk band.... The series, however, sticks too much to the sitcom formula, telling 22-minute stories that are all too predictable.

Shots Fired tends to get preachy--watch for James’ speech in front of news TV cameras in the pilot that really sets the show in motion--but it sheds a bright light on what’s been playing across newspaper pages.

A bit contrived at times--how many times have we seen an uninvited police detective hanging back at a funeral to initiate a confrontation--Game of Silence offers a so-so compelling tale.

Like “True Blood,” the cheese factor is high here, but that’s what made the HBO series so fun.

It’s brutal, violent and graphic. And it’s a story we’ve seen before.

Sounding like an old married couple, the interplay between the two is, at times, bitingly and laugh-out-loud funny. But it also becomes tedious.

The film editing is a bit clunky, with the camera sometimes lingering too long on actors after a scene has concluded, making the transitions a little rough. But the story’s there.

Resurrection is the tamer American version [of "The Returned"].

The pilot also contained a few eye-rolling scenes.... Still, Sevigny is quite good. Her character is complex, with a backstory, that we’re slowly finding out, for turning her into the kind of person she is. D’Arcy also holds his own.

The story’s fine. It’s just filled with a bunch of overacting and poorly orchestrated scenes.

Once the novelty of Riverdale--seeing who is portraying each character and how each is written--wears off, Berlanti and crew hopes the mystery will keep you coming back. The trouble is the kids are so off-putting, you won’t care who committed the crime.

That’s the setup for this story [A meteor crashes to earth in New Mexico, sending out shockwaves that affect five people], which is unevenly acted but features a compelling story about angels.

It has its moments. It just needs a few more of them.

I found little interesting in Wicked City until Erika Christensen became a part of it halfway through the pilot.

It's a ho-hum procedural with a new story each week, but I like how the series strives for authenticity in setting and costumes.

The laughs, as you can imagine, are few and far between -- what with that death hanging over the comics, who come off as some of the unhappiest, bitter and jealous people ever. ... [Michael Angarano and Clark Duke] play two penniless and naive comics from Boston who come to L.A. seeking fame and fortune. They are funny. I wanted to see more them (and their story) and less of everyone else.

This one’s OK, but not great. Transitions in the narrative are a bit clunky and the acting is on B level. Still, it offers some summertime horror thrills.

The comedy is “Rescue Me”-like, but lighter, with less angst.

In Assets, I wanted more about Ames and his motives--and maybe that will come later--but this is Grimes’ story, right down to how her job affected her home life.

It’s based on the 1979 novel and movie and is more romantic fluff than thriller.

It’s more interested in whether she gets away with [killing people]--the “B” story is about an undercover cop trying to catch the doctor in the act.

Give me a little more music and a little less soap opera, and we may have something here.

The new sitcom is formulaic, with one joke following another punctuated by a laugh track--even when the jokes aren’t funny, and many of them are not.

This one’s preachy, overly dramatic and everything you would expect from a show like this.

Ellis is charming, but this nothing more than another buddy cop procedural.

There’s a third storyline involving a cow. Really, I’m not kidding. These, I’m guessing will come together, at some point, but I’m not sure I’ll be willing to wait that long for the payoff.

The pilot had more holes than a piece of Swiss cheese.

This procedural revolves around their predictable relationship.

If you like “Family Guy’s” crude, lewd and offensive humor, you’ll love this one. I lasted 15 minutes.

The story sort of has a “Bourne Identity” element to it. The pilot is an eye-roller, with the main storyline featuring Bean infiltrating a survivalist camp.

Believe it or not, the comedy’s not crass enough to really generate the laughs it should.

It’s mildly amusing.

The first hour is confusing and the acting a bit forced, so it may try your patience.

A little over the top--well, actually, a lot over the top--the pilot is filled with one eye-rolling surprise after another.

The drama is nothing more than a video game, with a story secondary to the blood and sex.

It’s a family comedy, one of many on the network, that, at times, has its moments. There’s just too few of them.

Kazinsky is bland. As is the seen-it-before strained relationship between him and his “son,” an FBI agent played by Tim DeKay. The strange dynamic between twin brother and sister, however, is the reason I will give it a second chance.

P.D.'s also loud--the percussive soundtrack is headache-inducing--formulaic and predictable, not at all like "The Shield."

Inhumans is more comic book-y, with an emphasis on special effects. The target audience appears to be teenagers rather than a mass audience. The effects, though, which include a teleporting giant dog, are pretty cool.

Paxton steals just about every scene he’s in.

The action is good, with all three actors receiving and dishing out their fair share of abuse, but the story is, literally, difficult to follow.

The pilot is mildly amusing. Neither Foo, nor Hires, is as engaging as Tucker and Chan, and the chemistry between them is lacking.

Sometimes it’s funny, but most of the time it’s just bizarre.

Fans of the books probably will like it because they know what the heck is happening. I was lost.

A few more stabs at 1990s pop culture would go a long way in making this better.

The comedy comes off as a less funny “Modern Family,” with the daughters uncannily similar (one’s dim and fashionable; the other is smart and geeky) to the “MF” girls.

Other than Zane, the acting is sub-par and the writing painful.

The pilot is rough, with much of the humor dealing with sex and male genitalia, which seems like something you would find in a Seth McFarlane show.

I found myself not caring much about Kyle, Budgie or what any of these tattoos mean, but the cinematography is grand.

The pilot's humor is juvenile, including a bunch of toilet references, although I did laugh at the baby pool turned into a large margarita. Things pick up in episode two, but not by much.

Damien is nothing more than cliche, right down to the use of Rottweilers as hellhounds.

It features gunfire, bad dialogue, more gunfire and me wondering why Terry O’Quinn keeps signing on to losers like this after winning an Emmy for his work on “Lost.”

Elfman’s character brings back her imaginary friend, Mary, from her childhood to help her deal. Mary, voiced by Rachel Dratch, is not funny, just annoying, extremely so.

The punchlines are predictable, with jokes about weight, graying hair and sexting.

It's more video game, than TV drama.

The humor is low-brow and juvenile.

The trouble is they are just normal--and not very funny.

This is a formulaic, laugh-track comedy that wastes the talents of its actors--Katey Sagal is a sharp-tongued Chicago cop--who deliver inane, see-them-coming-from-a-mile-away one-liners.