The show’s creative team, headed by creator Corinne Kingsbury and including Ben Stiller, so far have put together a show that’s surprisingly and bracingly watchable.

This series is a complete mis-fire. There are no relatable characters, every joke's a dud and Slater seems to have no earthly idea what's befallen him.

Through its first three episodes, Yellowstone is big and broad and a little too full of misfires. But it’s never as determinedly over the top as Dallas or Dynasty, both of which can be seen as ancestors.

Decidedly dreary for openers, Mr. Sunshine succeeds in making Cougar Town look like a lion of the prime-time jungle. That's obviously not the intent. But Perry, Janney and company will have to brighten matters in a hurry to avoid a very quick sunset.

Tyrant strives to be big, momentous and powerful. But while sometimes jabbing to good effect, it lacks a heavyweight’s punch.

White Famous can be faulted in its conceits and concept, but Pharoah is fully invested and funny at times, too.

Sevigny works hard at being complex, haunted, etc. while the show around her collapses into a voyeuristic mess with a denouement that makes one wonder how Catherine Jensen could possibly remain on the force beyond the opening episode.

ABC has far more family-driven sitcoms than any of its rivals. Splitting Up Together shows that the network is still finding new ways to make them work just fine.

In the grand USA scheme of things, it's pretty much same old, same old. But that's still a workable recipe.

It's a decently made but hardly exceptional movie without any high wattage star power but with a few familiar faces.

The deadpan deliveries of its principal characters can be very moderately amusing at times. But in the end, you probably won't want fries with this one.

It's a long pull that can be fun and funny--and more than a wee bit tedious.

A smart, sedate Canadian production imported by ABC for a summertime run.

This elongated version makes its own mark, although certainly not an indelible one.

This possibly could work, and isn't entirely unwatchable.

Based on just the pilot episode (no others were made available for review), it doesn’t look too bad for re-starters. The acting is no great shakes but the special effects and overall atmosphere are overriding plusses.

The Resident already seems to be straining credulity with the demonic Dr. Bell. How long can he rule with an iron fist as the hospital’s most-requested celebrity surgeon? That hand isn’t getting any steadier while his ego shows no sign of downsizing. This isn’t supposed to be a soap opera in the mode of Dallas, so Bell seemingly can’t get away with being a broadly drawn J.R. Ewing. Something’s got to give. And I’m interested just enough in The Resident to see if something soon does.

Growing Up Fisher is no About a Boy, although at times it’s not half-bad. The relationship between the freewheeling Mel and wide-eyed Henry has its sweet spots.... Elfman’s Joyce, however, is an all too typical blend of aging TV mom striving to be young, cool and alluring again. Her clashes with sour teen daughter Katie (Ava Deluca-Verley) tend to get old in a hurry.

It smoothly goes through its paces, with Hunt and Reiser engaged and looking happy to be together again. The “plots,” such as they are, tend to be mostly thin soup.

This is a frothy, giggly, historically silly, pop tune-themed trifle, with mid-16th century France as its backdrop.

Another two hours (minus commercials) of thoroughly mindless entertainment in which lots of celebrities are harmed at the end of their cameo appearances.

There’s nothing wrong in aspiring to be purely entertaining. Good Cop is quite good at that in Episode 1, but pretty much falls on its face in the second hour. Each story ends with a newspaper headline teasing the next one.

Highmore plays his lead role to near-perfection amid all the considerable medical jargon and jockeying for position among his supposedly more enlightened colleagues. The Good Doctor engagingly drops Dr. Shaun in their midst as both a lamb and a lion with a muted roar. The story possibilities are readily apparent on a number of fronts in the best broadcast network medical drama since Hugh Laurie contrastingly bruised his way through House.

In the annals of all-time worst game shows, this one takes its rightful place alongside ABC's Conveyor Belt of Love, which soiled prime-time back in January 2010.

Harden is a fine actress, but the show’s writers too often give her heavy-handed lines that are the equivalent of cauterizing a head wound with a blow torch.

Whatever its traditional trappings, The McCarthys is buoyed by Metcalf’s always solid work and Ritter’s boyish appeal amid a capable, energetic ensemble. Some of the lines are amusing and even the clinkers don’t land too hard.

Constantine doubles down on both shape-shifting and puzzlements. Its whiz-bang-boom special effects also might serve as ample enticements for viewers who don’t much care whether anything makes any real sense.

The Killing still has some pulling power, even if the initial thrill of Season 1 is long since gone.