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.

Shameless instead is about as uplifting as rectal cancer, even though it's hard not to at least respect the gumption and resilience of Fiona. Rossum's performance in this role is all together pretty terrific.

There’s possibly some potential here. But the only episode of Schooled made available for review neither rings the bell--or answers it.

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

The problem isn’t with the overall look of Syfy’s The Expanse. Production values are first-rate through and through. But having little or no earthly idea of what’s going on can be a problem, even with the lengthy printed preamble greeting viewers of the Monday, Dec. 14th premiere episode

Being gross, graphic and disagreeable has not kept Shameless from having a long run on Showtime. SMILF is in that vein, and perhaps also will find enough of an audience to sustain it. It’s hard to know what going to work anymore. But this one just doesn’t work for me.

Missing's clue unraveling is barely believable when it's not simply preposterous.

The first five episodes made available for review are underwhelming and under-achieving.

In the end, though, justice is served. Although with Bruckheimer, the serving spoon again tends to be a sledgehammer.

The game itself gets bogged down with a succession of gratingly easy questions that turn Round 1 into a rather boring marathon.

666 Park Avenue doesn't entirely lack a pulse, but doesn't get the blood rushing either.

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.

Turn never quite turns the corner in its first three episodes, but perhaps will perk up a bit if the recurring George Washington (Ian Kahn) finally makes his presence felt.

Alphas looks fairly good on paper, but never catches fire. And its use of Strathairn is even more of a fizzle.

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.

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.

The give-and-take living room scenes between Murphy and Avery so far are the best and most natural parts of this reboot. ... Murphy Brown, through these first three episodes, is aggressively polemic to the point of diminished returns.

In short, nothing really jumps off the screen here.

The Orville needs considerable work to accomplish whatever it wants to be--assuming that MacFarlane and company even have that answer. For now it’s boldly but very unsteadily going forth, with its jokes working here and there while the action and “messages” bump along at best.

As with CW’s ongoing and likewise newly Latina-centered Charmed do-over, the story already seems played out in times when re-exploiting name brands unfortunately has become an end in itself.

There are lots of swings and misses amid the direct hits. And that's pretty much the way it is with Rob.

As with Castle, this one will sink or swim on the banter and appeal of the two leads. Bllson grades a bit higher on these curves while Cibrian sucks it up and regularly swallows hard. ... Take Two comes nowhere close to matching the glories of ABC’s Moonlighting or NBC’s Remington Steele, both of whose odd couple crime solvers really rocked. Castle also fell well short of those two, but did pass ABC’s endurance test.

The producers of this series, who include Ryan Seacrest, nonetheless are asking viewers to patiently sort through a lot of characters.

The NBC series deteriorates from a graphic but promising first episode to a third hour that basically falls apart from any rational credibility standpoint.

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.

Graceland is nothing to get all shook up about.

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.

American Housewife so far is too busy taking offense to be much fun to watch.