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.