New Amsterdam tends to rather tidily resolve all of its patient crises in these first two episodes. It also can get treacly at times, particularly when Coldplay’s “Fix You” hovers over the closing minutes of the premiere hour. The long-term diagnosis is iffy at best, with the main characters and their cases coming off as not that special or interesting.

Drescher still looks good a dozen years removed from the last season of The Nanny. But the lines coming from her mouth are too obvious for words.

The story dawdles at times, despite efforts to spice things up with some of that good ol’ Old Testament iniquity.

You'll likely guess every development at least a minute or two beforehand. But Peterman's enthusiasm for her role is tangibly contagious, making it possible that a decent percentage of opening night viewers might RSVP in the affirmative to this show's overall "Ya'll come back, ya hear" motif.

Emerald City has its moment as a vicarious, danger-packed thrill ride replete with jolts, wonders and ample shivers amid its shimmers.

Gummer's a gamer, investing her lead character with smarts, compassion and no small amount of discombobulation. She injects the ordinary with her own unique prescription brand pick-me-ups, making Emily Owens bearable when it's not fully embraceable.

Kartheiser, who’s taking what he can get these days, has grown a beard for the role of the rather zany Bodie. The role is somewhat fleshed out in Episode 4, but it’s still not much to speak of. Lefevre, who co-starred in CBS’ summertime Under the Dome series, has some crackle as the head protagonist in Presumed Innocent. ... Presumed Innocent also can be transparently heavy-handed in its political leanings.

3 rises above the genre's usually tawdry trappings, even if the opening episode is more than a bit static.

This is a series that CBS should have kept doing without. But 18 years after Rush Hour hit it very big, here’s a TV version that for the most part falls flatter than a thug on the receiving end of a Yan Naing Lee kick.

MacFarlane and Hentemann already have pumped all of these wells all but dry, which leaves Bordertown with its ramped-up topicality and little else.

Welcome to the Family is a passable half-hour that fends for itself without a laugh track and manages to deliver a few un-goosed grins.

A conveyor belt of death-defying and death-dispensing action scenes.

The food looks pretty good. But that’s not enough to keep this drama from rising above basic cafeteria fare.

The plotting and counter-plotting in Tut are meshed with some fairly ambitious battle scenes and pulsating full-gallop chariot rides. Not everything is telegraphed, with Grand Vizier Ay in particular a fairly nuanced man of deception and feints.

There are likely to be more to come on a network that only occasionally fails to keep its crime hours in play for multiple seasons. Ransom is easier to take than some of them, and with a hero who doesn’t have to brandish a gun to get the job done.

It somehow manages to be more inviting than ABC's new and thoroughly preposterous Zero Hour, although both series could be the stuff of sadistic semester-ending writing essays.

There are moments in Here and Now that threaten to turn the corner and reward a viewer’s patience. But just as quickly, things bog down again. The acting isn’t at fault, but the preachments and overall ponderousness are.

Shedding otherwise is groaningly familiar in every way with its mix of taskmaster trainers, supportive yet firm host and heavyweights who are in it to win it.

Super Fun Night isn’t entirely super-bad, but so far that’s about the good thing to be said about it.

It's far funnier than Fox's two still relatively new animated series, Bob's Burgers and Allen Gregory. Mickey Mouse it's not, though.

The whole thing comes off as uncomfortably clownish and insulting to viewers of any color, let alone African-Americans who have every right to cringe at such off-putting, clownish portrayals in times when FX’s immeasurably superior Atlanta has charted such bold new territory.

Smits is solid enough as the patriarch of Bluff City Law while McGee also makes her presence felt in some scenes. Overall, though, this is yet another same old, same old broadcast network drama series.

Unsupervised might induce at least a small handful of smiles per episode. But only if its mood strikes you.

Hours two and three, also made available for review, are somewhat better executed [than the premiere episode].

Subtract its clunky dialogue, ludicrous plot devices and empowerment nonsense, and you're left with its heightened sense of pulchritude.

Hemlock Grove overall falls well short of anything resembling sustained brilliance. Still, each episode may well push just enough buttons to pull you along to the next one.

Although its title is needlessly sub-juvenile, Oh Sit! does manage to be stupidly entertaining during its small handful of best moments.

For now it’s pretty much something you wouldn’t wish on your best friends.

Atwell’s performance is solid enough, particularly when Armstrong is around for badgering purposes. But the weekly skirmishes with “The System” end in ways that at best strain credulity.

The Bible has the misfortune of looking cheap in comparison to the visual feast provided by the preceding Vikings. And the acting isn't nearly strong enough to overcome this.

On CSI: Cyber, Ryan and her team act very swiftly, oftentimes preposterously so. Computer graphics whiz and buzz. And then, just like that, another suspect is chased down and vetted by Ryan, who seemingly needs nothing more than a burp or a twitch to determine who the bad guys are and who they are not.

Night Shift won’t make anyone forget the glories of NBC’s ER at the height of its powers. It shows some signs of being a passable summertime drama series, though.

The end result isn’t a very good biopic and certainly not a noble one.

Heavy-handed in both its law enforcement and dialogue.

Underwood tries hard throughout and is still a small-screen presence. But that doesn’t save Ironside from being thoroughly overcooked and stuffed with convoluted deductions on how the featured wrongdoing went down.

Black Box at least has moments of unintentional high comedy in Catherine Black’s loopy magic carpet rides. But the series nonetheless takes itself way too seriously to be taken seriously.

The first episode is just too relentlessly clunky and stupid.

The Purge comes to television at exactly the wrong time. Not that there’s really a right time. The fact that it’s also clumsily made and rife with mediocre performances seems almost beside the point in the context of how pointless this thing is in the first place.

This season instantly ratchets up the sadism with the aforementioned treatment of a comely corpse as a living doll. Unlike the first time around, that’s pretty much doused my interest in playing along any further.

Brain-dead male teens without any social skills or purpose in their lives might find this a highly entertaining diversion from their violent video games.

Hand of God’s strengths are its elongated scenes, enabling the characters ample time to play off one another.... The wheels keep turning but can take too long to get rolling while the plot hits some ruts in the road.

Together they [Patrick Warburbon and Carrie Preston] put a fair amount of zing into NBC’s New York City-set Crowded, which otherwise has a thoroughly shopworn premise and an increasingly outdated laugh track.

Mind Games just doesn’t work on any level.

They're [the initial episodes of Anger Management are] somewhat more amusing than expected.

Client List ends up being easy on the eyes, harder on the ears and likely destined to become a bell-ringer in the ratings for a network that needs another hit scripted series other than Army Wives.

Unfocused, unfunny and all together unbearable, Perfect Couples at least affords NBC a chance to hit rock bottom before the new owners begin their massive cleanup effort.

Partners has its share of clunkers, but Lawrence and Grammer retain their comedic timing while also pairing up nicely.

Winchester is a solid enough presence as Kane.... Although this isn’t a flat-out terrible series, don’t bet on NBC having a winner opposite fearsome time slot competition from CBS’ Thursday Night Football and ABC’s How to Get Away with Murder. No one likes those odds.

Maybe this will prove to be a bit more interesting as the contestants dwindle. But based on Sunday night’s premiere, that seems like a long slog toward the show’s eventual payoff.

Parents of kiddoes, tweens and young teens can be assured that all of this is quite harmless.

Airplane! it’s not. Not even close.

It goes down pretty easy if you'd like to set down for a spell with a disarmingly pleasant little down-home melodrama.

A total of nine executive producers, including Heigl and her mother, Nancy. That’s too many cooks for what turns out to be a half-baked hour of ridiculosity.

For better or worse, Sean Saves the World is exactly what he wants it to be--an old school, joke-loaded, histrionic showcase for himself.

Fonda’s guest appearance is head-and-shoulders the best of the four I’ve seen. In fact, Episode 1, with David Spade featured, is so excruciatingly bad that you’re better off skipping it entirely. ... If you’re a Norm Macdonald fanatic, and there likely aren’t very many of those, it’s best to watch this show while you still can.

Sometimes they’re [TV networks are] still smart enough to know when they have a stinker.

Based on the limited evidence provided by Netflix, Disjointed is also discombobulated and too often dim-witted. There’s some cleverness amid its clutter. But Bates was better served as the bearded lady in American Horror Story: Freak Show.

The cancer/pregnancy storyline unfortunately takes a rather predictable turn in terms of the woman’s hard-praying husband. But the dynamics between the willful Bell and his staff are well-played throughout.

There’s ample cringe-worthy bawdiness. ... The diminutive Jordan, speaking in a deep drawl, is something of a scene-stealer, even if it’s only petty theft. And Lawrence seems to have a fairly firm handle on her boss lady character.

Reverie is brightly colored and nicely designed when it’s tripping. But it’s also all over the place, and probably not worth the overall trouble of trying to grasp whatever the rules of this game are, were or will be.

The first two episodes hit some comedic sweet spots, both visually and verbally. But if the government again shuts down over DACA, Colbert and his writers will be increasingly hard-pressed to find the funny.

It's a thoroughly ordinary series on what's increasingly an inconsequential night in the not-so-grand broadcast network scheme of things.

Suspect Behavior is in every way a grind, with even the usually very capable Whitaker looking lost at sea with his halting, stumbling, keep-pausing-for-effect portrayal of crime team head Sam "Coop" Cooper.

Mob Doctor is one of those classically bad concepts that somehow got green-lighted as a series.

Nothing about this latest re-do offers any hope for its future.

Perhaps Star will evolve and hit some higher notes in future episodes. But its premiere hour is mostly a patchwork quilt of fairly effective performance segments and threadbare storylines.

This latest aliens-meet-earthlings sitcom is just too dopily executed for any long-term stay on this planet.

The dialogue and interior monologues occasionally have some snap. But Manhattan Love Story mostly is pretty thin soup in a city known for its delis. Seconds are not recommended.

It’s a grindingly bad half-hour with some even worse finishing touches.

The scripts are serviceable, although some lines land with a Richter Scale thud.

Hit the Road is relentlessly broad and determinedly offensive. It’s also quite funny in fits and spurts, primarily when Alexander is throwing the fits and having the spurts.

This is a comedy with a solid core group of characters and a chance to go the distance.

Mr. Robinson has an appealing star in Craig Robinson, but the show itself is gratingly forced and formulaic.

Outlandish and thoroughly TV Land-ish, Malibu Country belongs on the network of Hot In Cleveland, Happily Divorced and other broad, blast-from-the-past sitcoms.

Rodeo Girls so far has stopped short of giving its stars and their story lines enough rope to hang themselves. Instead It manages to jingle jangle jingle its way toward an overall entertaining first hour of animal desires occasionally played out on horseback.

Weatherly is the here, the now and the only overriding reason to watch Bull. On his own or in the NCIS ensemble, his star quality is obvious and likely enough to carry Bull through a multi-season run.

Their all-that activities become redundant and tiresome at WARP speed, raising the overall question of whether watching Ja’mie: Private School Girl on a continuous loop would be worse than eternal burning in hell.

Maybe the content also will rise to the level of the art deco-ish visuals. But the opening episode has an overall creepy feel to it, paced of course by a seven-year-old's carnal longings for his gruff sexagenerian principal.

All of this unfolds with complete and utter predictability amid a “Take my wife, please” collection of broad, flat, dated jokes delivered with a sledge hammer’s touch by Kevin and his coarse, chub-a-lub pals.

This all probably sounds ridiculous, and pretty much is. Even so, Valor is more entertaining and accessible in its own way than network TV’s two other hard-charging combat hours. Ochoa and Barr blast off in their lead roles and also play well together.

Roseanne's Nuts is her way of taking a dump in your living room.

Breslin and Prattes are more or less adequate in the pivotal lead roles, but certainly no match for the smoldering chemistry that Swayze and Grey displayed both on and off the dance floor.

It seems like a harmless little diversion at this point, with Elfman and Dratch playing well off one another in a fantasy that may have enough winning moments to survive its tough-to-pull-off premise.

Things aren’t breezy enough here to be a jaunty sword-and-dagger fest. Talon is too serious-minded for that with her understandable determination to kill her mother’s killers in addition to avenging the attempted wiping out of an entire race. The first episode never dawdles in this respect. Future hours may calm down considerably on the action front. But even at a slower pace, The Outpost seems to promise enough mayhem, intrigue and burgeoning feminism to make for a satisfying enough summer run.

Preposterous, ridiculously earnest, poorly scripted and laughably acted, this is the series that Anthony Edwards chose to re-enter prime-time after a long tenure as one of ER's main men. He should've stayed in bed.

The resultant explosions look cheap and the cliche-pocked script keeps self-destructing--“We’re running out of time, Mac”--before the bad guys are neutralized. MacGyver deploys a few household items to make all of this happen, but not all that inventively or interestingly. Till’s acting remains a work in progress, if that.

Urie's mostly a hoot, with his inflections infectious and his comedy timing a thing of beauty. Krumholtz offers sturdy enough support, but his co-star does most of the heavy lifting.

Standout performances and what looks to be a sure-fire, durable premise give Fox’s Almost Family the key ingredients of a potentially long-running, soapy serial drama.

Adapted from the Dutch series Overspel (adultery), Betrayal is consistently overwrought.

The older you are, the more you might respond to the oft-clunky, middle-aged craziness of The Paul Reiser Show.

This is a messy disposable diaper of a comedy series whose star plays himself without any idea of how to act or write the part.

Walsh throws herself into the part but Bad Judge so far is falling apart around her. It’s not terrible, and maybe not even a misdemeanor offense. But it’s still guilty of not being all that good.

A decidedly bland and tedious weekly series in which couples attempt to mend their frayed relationships by doing it for a full week.

A violent, virile and often vile extension of the 2001 film that won Denzel Washington a Best Actor Oscar.

It's simply not coherent enough to sustain weekly interest.

Rosewood can be fun in spots, but more often is way over-cooked.

Guys with Kids is over-populated, under-funny and no match for the simple charms of Three Men and a Baby, the surprise mega-hit of 1987.