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.