There are times when the dialogue is rough and doesn’t flow quite right, but not enough to overshadow the humor. Ansari has a gem of a show here.

This is one you will want to binge-watch. It’s a thrill ride from the onset.

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

You expect Fargo to be dark, funny and quirky. But, darn it, if it doesn’t pull at the heartstrings, too.

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

While Geere and Cash are razor sharp, the supporting cast are just as entertaining, if not more so.

Burns gives us a good old-fashioned crime tale, just the kind of thing we need to end our summer.

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.

It’s mildly amusing.

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.

Gaffigan is a master of self-deprecation, and the jokes here, at his expense, come fast and furious. The banter between Gaffigan and the supporting characters is extremely well orchestrated.

The story will grab you, as we slowly see the animals begin asserting their control and the humans at a total loss as to what to do about it.

The Brink is whip-smart, featuring actors who know how to play comedy. This one’s a joy to watch.

Johnson, in a non-action role for a change, is surprisingly good, offering up a multi-dimensional character.

It’s difficult to like or root for any of the four, making this one difficult watch. Still, creator and writer Nic Pizzolatto has a knack for storytelling and character development. Especially intriguing is Farrell.

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.

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

The early episodes lack depth because there are so many characters and so many stories to tell.

UnREAL is way over-the-top and trashy, but in an entertaining way.

It’s creepy, especially when the children talk to the unseen Drill.

While Duchovny is the draw--he plays Sam Hodiak, a no-nonsense World War II veteran who, because of his age, has trouble infiltrating the 1960s hippie culture--the actor to watch is Grey Damon, who portrays Hodiak’s partner, Brian Shafe.

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

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

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.

The joy here is watching Crystal and Gad play off each other. Their scenes together are a hoot, with each having no problem lampooning the other, or themselves, for that matter.

Creator/executive producer Drew Goddard (“Cabin in the Woods”) serves up a dark, edgy, violent and, at times, gruesome series that has some teeth to it.

For those of us 40 and older, it’s a bit of a hoot watching Foster navigate these waters, from learning how to use Twitter to deciphering texts IRL (in real life) to explaining away those crow’s feet, among other things that aren’t mentionable in a family newspaper. But it’s the personal relationships--with the hunky Tortorella and with Duff--that hold the most interest here.

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

Bloodline unfolds like a good novel. It’s so well acted, that like a good book, it’s hard to stay away from it

Like “Mars,” part of iZombie’s appeal is the banter among the characters.

What Cuse and Tucker have done best is maintain the eerie tone and feel from the original.

These episodes will stick with you long after watching them.

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.

This one’s super funny, especially the scenes featuring Winters and Duhamel together. Talk about chemistry.

It’s poorly written with a bunch of things happening in the pilot that just don’t make sense.

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.

Procedurals work well when viewers like the characters, e.g., Mark Harmon on “NCIS” or Mariska Hargitay on “Law & Order: SVU.” It’s hard not to like Arquette, Van Der Beek and the other cast members on Cyber.

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.

Viewers will get a kick out of how each character is portrayed from what we know today about them from history texts and biographies. Samuel Adams likes his beer, Benjamin Franklin his women and John Hancock his money.

Wilson’s Backstrom is just downright rude and in-your-face belligerent, and, at times, it can be tough to swallow. That’s where the supporting cast comes in. Polaha and Rosen are particularly winsome characters, providing additional touches of humor and helping to soften Wilson’s hard edges. A little more of them and little less of Wilson will go a long way.

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.

Just as Gilligan routinely did with “Breaking Bad,” the first episode ends with a cliffhanger of sorts, and another pleasant surprise. It’ll make you wish 9 p.m. Monday comes quickly.

This is over-the-top. And extremely fun. And here’s hoping Wyle recurs often.

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

With the recent Ebola scare, the show’s premise is timely. Plus, it’s a trippy, roller coaster ride as we learn, along with Cole and Cassandra, who is responsible for killing 7 billion people.

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

This is the best new show of the summer.

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.

It has the look and feel of a sweeping “Game of Thrones” kind of epic filled with romance, intrigue and violence.

The joy here is watching Grammer and Lawrence trade barbs (and there are a bunch of them).

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.

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

Of course, the first episode will leave you with more questions--which will make the drama one of the most compelling (or maddening) of the summer. Berry’s character drives the story. The Oscar winner is a good choice for the role.

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.

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.

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

It’s been a “24”-like thrill ride so far, with baddies coming at the ship right and left to get their hands on the doc and the in-the-works cure.

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

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.

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 is just a straightforward whodunit--a summer escape.

The thrill comes not from the actual computer building, but the people doing the building. These characters are complex and well-developed, especially Pace’s fiery exec, who is a mesmerizing manipulator.

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.”

What makes Penny click is the chemistry among the characters, especially the psychic and the gunslinger, who end up seducing the viewer with their seductive encounters. They make you forget this is an action show

The good news is the limited series is just as entertaining.

We not only see how those stories [of her patients] play out, but how Black’s story does, too. We see how her ailment affects her relationships with her boyfriend (David Ajala) and her family, and what little control she has over her life.

The pilot is a trip, with Thornton’s character leaving four bodies in his wake--three of whom he dispatched himself. Each meets his end in an unusual, dramatic and somewhat humorous fashion. It’s just the kind of thing you’d expect from a Coen brothers' product.

Turn is a heart-racer at times. That’s the sign of a thriller done well.

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.

It's more video game, than TV drama.

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.

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.

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

The drama is quite riveting.

Outside the courtroom is where the drama finds its feet.

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

The story is an edge-of-your-seat kind of thriller. Clues are dropped, but you never know what’s coming next.

It’s the kind of show that sits with you long after it’s over.

Watch this one just for Zahn’s performance.

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

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

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.

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

What’s extremely effective is the relationship (and chemistry) between Sequoyah and McLaughlin. You will find yourself rooting for them and hoping nothing comes between them.

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.

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