Sharknado 3 is so tediously lamebrained, it makes the original, and last summer's "Sharkado 2: The Second One," look like "Jaws."

Instead of taking any creative risks, Tut trundles along down the familiar "Game of Thrones"-wannabe path. The emphasis is on battles for power, conspiracies, warring tribes, with some cable-style sex scenes thrown into the mix.

In the first few episodes, there are enough snappy lines and funny ideas to make me wish Sex&Drugs&Rock&Roll was better. But the cringe-to-laugh ratio is too high for it to really sing.

Fortunately, with its nutty playfulness, 7 Days in Hell is 45 minutes of fast-moving, goofy fun.

The first episode gets us in the mood for the TV equivalent of a beach read adventure..... [James Wolk] easily rises to the task, making Jackson charming, sympathetic, and capable. Though Zoo may turn out to be more silly than sensational, Wolk is always delightful TV company.

Looking into some murders that remind Molly of what she learned last season, Berry and [Jeffrey Dean] Morgan have the makings of a strong team. It also helps that the intriguing Gummer is still around, and that the cast now includes David Morrissey as a General who's in charge of an international security team. The Season 2 opener doesn't make it particularly clear, but apparently, we're still in for some blather about threats to humankind, global conspiracies, and blah, blah, blah.

Unfortunately, The Brink feels like a would-be daring political comedy that's lacking in insight and light on laughs.

The good news is that Ballers has its own energy, humor and terrific performances, notably by Johnson.

Poldark is juicy, romantic, melodramatic storytelling at its most enjoyable.

True Detective Season 2 may not be subtle ("this is my least favorite life," a performer mournfully sings at the Vinci bar.) But the actors provide enough light to make it worth navigating the gloom.

Season 3 is an utterly confident mix of gritty comedy and affecting, underplayed drama.

The Secret Life of Marilyn Monroe is a glum retread of Monroe's legend, with a flat script by Stephen Kronish and direction by Laurie Collyer ("Sherrybaby") who gives it all a funereal, depressed tone even when Monroe's career is at its height.

As with the first season, the actors all do their best, and the loving but challenging relationship between Donna and Gordon remains the show's most appealing, layered element. But Halt and Catch Fire still lacks a point of view that would make this trip back to the '80s feel relevant.

Though the '60s music is sometimes laid on with a heavy hand, Aquarius benefits from its stylish look, and a moody atmosphere that doesn't become oppressive, thanks to Duchovny's mordant wit. It's an unusual summer season offering, sometimes unsettling, but worth checking out.

What should be a sweeping, exciting epic about Texas' fight for independence instead comes off as a muddled cross between a costume party and historic re-enactors convention.

The good news is that Wayward Pines is a creepy mystery that gets more compelling--and shocking--as it goes along.

Severance gets the second half of Season 7 off to a brisk start.

While Going Clear is unapologetically one-sided in its dim view of Scientology, the issues it raises--what is a religion? What motivates people to follow a faith, even when it comes under attack?--will make you think about the film long after it's over.

By the time Corden sang a wry little tune thanking us for watching, he seemed as comforting as a cup of tea and a biscuit. He may not be boldly going where no late-night host has gone before, but based on first impressions, Corden looks like he'll be making himself at home in no time.

With witty writing, a likable leading lady, and a terrific cast, iZombie is full of life, and one of the season's best new shows.

While the first episode is comfortingly familiar to Community obsessives, the second one feels weirdly off.

Season 3 gets off to a busy, skin-crawling start.

The Returned has the nightmarish quality of a ghost story, but could benefit from some of Norma Bates' frenzied energy.

When Ridley's narrative threatens to get too heavy-handed, the individual struggles and tragedies of the characters keep the story grounded.

Dig spends too much time building ominous atmosphere, and hinting at vast schemes that may change the course of history--that again--and not enough time giving us a reason to stay tuned as he convoluted plot unfolds.

Though the cases are built around cutting-edge high-tech threats, everything else feels as stale as week-old bread.

The plot threads don't weave a very riveting picture, but Broadchurch Season 2 benefits tremendously from Colman, who remains the heart of the show.

It's definitely a smart, clever spin on the old opposite-personalities buddy-cop formula, with a terrific ensemble cast and immensely likable characters.