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.

The opening is a groaner, but after that it’s a wonderful journey back to an era when Carson was king.

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 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.

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.

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

Other than a few missteps here and ther --Why would someone who claims to have been abducted by aliens several times live in the middle of nowhere away from people and protection?--the reboot feels like Linus’ blanket, warm and comforting. Duchovny and Anderson slip easily back into the give-and-take which helped make the original series so darn entertaining.

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

[Enos is] kind of fun, especially when she’s matching wits with the veteran Krause. And Krause is perfect. He’s smooth, suave and charming. You’re rooting as much for him to elude Enos as you are for Enos to catch him. Let’s hope this chase lasts awhile.

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

The humor is biting, which you would expect from Meyers, Michaels and Howerton, whose been at his biting best for 12 seasons on “Always Sunny.” And while Howerton is the star, it’s really the supporting players, especially the nerdy kids, who make this one kind of fun.

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.

Braga is compelling as the woman who eventually will team with someone from her past to take down the drug trafficking ring that has her on the run. This one is violent and frenetic, kind of like a video game.

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.

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.

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

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

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.

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

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

If you’re a fan of “Fire” and “PD,” you’ll like this one, too.

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.

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.

The comedy pokes appropriate fun at the superhero genre and is one of the freshest sitcoms to come along in a long time.

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.

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.

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.

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

There are lots of sight gags here, with many of them involving the very funny Rhys Darby.

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

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.

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

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.

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

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.

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

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.

While action scenes from such military fare as “The Last Ship” come off as a bit hokey, that’s not the case with Six. The combat looks and feels real. That’s a credit to the Broyles. With TV veterans Goggins and Sloane, the acting’s on par with action.

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

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.”

StartUp is a thinking-person’s thriller, along the lines of USA’s “Mr. Robot.” Ketai delves into greed, corruption, violence and more, and none of his characters are immune to any of it.

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

The drama is light-hearted, perfect-for-summer fare. It’s a procedural that relies on its setting--you can expect other historical figures such as Bram Stoker and Thomas Edison to make appearances--and comic banter between the three main characters to make it attractive to viewers.

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

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.

It’s entertaining, mainly because all the characters are just so darn likable. Earl, particularly, is a hoot.

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

This is a good summer mystery to take your mind off the heat.

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

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

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

The pace is fast and furious, as usual. It’s just happening this time without Jack Bauer.

It's more video game, than TV drama.

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.

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

It’s mildly amusing.

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

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

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

Some of the stuff raises an eyebrow, but, heck, the original was that way, too. That was part of the fun. Prison Break was always a guilty pleasure. It remains so for the second go-round.

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.

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 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.

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

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

The first episode is a white-knuckle ride.

Schwimmer and Sturgess are so darn good in their roles you forgive the writers. Schwimmer, for instance, uses those sad, puppy dog eyes of his to play up his grief, and Sturgess really has the charming cad thing down. They really cook up some chemistry in the scenes with just them.

This procedural revolves around their predictable relationship.

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.

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.

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 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.

Watch this one just for Zahn’s performance.

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

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.

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.

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

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.

Paxton steals just about every scene he’s in.

George is the reason to tune in. She’ll be the reason why you keep coming back.

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

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

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

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