Blunt Talk’s overall absurdity at times over-reaches and grabs viewers too hard by the throat. Still, its excesses are offset by enough inspired lunacy to carry the day.

A few nice turns by Brawith as Saget aren’t enough to make The Unauthorized Full House Movie more than a connect-the-dots, dish-a-little-dirt, spoon-a-little-sugar, cut-print diversion. Still, it’s nowhere near a desecration, giving fans of the series a basically harmless glimpse at how the thing came together and somehow stayed together.

Not everything lands squarely on target in the first three half-hours of Documentary Now!. But there are enough moments--and quite a lot of them in Episode 3--to keep this ambitious enterprise on track and well worth a roll ‘em.

Show Me a Hero hides its agenda in plain sight. It could stand to pick up the pace at times. But this journey to the promised land for some and tragedy for others is by and large expertly crafted and intrinsically important.

It’s kind of all over the map for starters, with the funny business sometimes peeking through the clouds while also hiding behind them.

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

They have more than enough laugh out loud moments to justify this completely unexpected return trip to Camp Firewood, circa the summer of 1981.

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

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.

It promises to be quite a juggling act, with Leary as balls-out as ever in the early going of his latest daring enterprise.

Rosenbaum has an amusing moment or two, but nothing to make anyone grin with the stereotypical wideness of the church’s gay staffer. The marginally funnier stuff occurs away from the parish.

The Jim Gaffigan Show showcases its star at his exasperated best, putting his now well-honed spin on the befuddled dad genre from which many a sitcom has supped.

Season 3, which again will have 12 episodes, shows strong signs of fully regaining its bite, passion and fury.

Rectify can be both hypnotic and heart-wrenching for viewers who have invested in these characters throughout the first two seasons. Season 1 remains the high point, though, and there doesn’t seem to be much time left to scale some of those peaks again.

It’s not a game-changer or first-rate through and through. But it is an interesting and very nicely acted look at online daters meeting for the first time.

Zoo very much spares the gore in its less than scintillating but better than lackluster opening hour.

Elliot's (Rami Malek) haunted eyes and black hoodies, coupled with a blunt, abrasive take on humankind, propel Mr. Robot through a world of deep discontent and covert villainy.

This is still a quality, provocative series that’s unlike any other and has already been renewed for Season 4. But much work needs to be done during the off-season--beginning with restoring an ominous sense of disorder and peril in a place that’s gone more than a little too soft and soapy.

An explosively funny satirical descendant that can hit home without being even slightly preachy about it. Mostly, though, have fun with both the madcap characters and the notion that one of the Pakistani demands in play is a full membership with the Augusta National Golf Club.

In Ballers [Dwayne “The Rock” Johnson] brings it in full and then makes the sale.

The overriding problem with True Detective 2 is its neck-deep wallow in debasement and self-pity.

It’s a character study first and foremost, with a sure-handed sense of time and place.

Beals’ sturdy performance is an overall plus, but Proof has a harder time selling its basic week-to-week premise.

This so far is an overall sturdy production that re-details the lives and deaths of high-powered hoods.

It’s basically another short-burst, talking heads/clip show with too much to cover and not nearly enough time to do so.

Spielberg has always had a facility for casting children and a fondness for the supernatural. In The Whispers he also gets the adult mix right in a bracingly good and shivery serial drama with much to show and tell in the first three hours.

Garner convincingly captures the ill-fated, love-craving blonde bombshell while Sarandon summons up more than a one-note character and Morgan brings DiMaggio back to prideful, brutish life.

Despite its letdown ending, oft-jumpy storytelling and extreme liberties with Manson in particular, Aquarius also leaves a mark as a chancy and difficult undertaking by a mainstream broadcast network. Duchovny is up to this task with a sturdy and watchable center-ring performance.