With all these elements working in its favor, scale back on the titular character and give Missy and the mom some more individual airtime and you might have something worth its timeslot.

Feldman and Milioti are inherently likeable actors, though as Andrew and Zelda, even their allures wane, stretched too thin by underwhelming writing and a disappointing lack of both humor and creativity.

Meadows was the one minor bright spot as the self-emasculating and self-deprecating therapist. Hines' allusions to a wild, coked-up past, Zorn's workplace woes, Pemberton's teen angst-these were all well-treaded tropes, and likely a missed opportunity for something more clever.

The Goldbergs banks on nostalgia for its charm, but needs to build on something more for us to really care about this family.

It works in measures, but the tragedy here is that Samberg's leash is too short.

Nothing groundbreaking, but every so often a sports-themed show is de rigueur

An entire season of no conflicts and Shrill’s series finale ends with a mess of loose ends, that makes it feel like all Annie’s and Fran’s personal accomplishments have amounted to nothing and leaves viewers with no resolution.

The efficiency and charisma of these two, enhanced by the haute couture and clichéd exotic locales, makes watching Undercovers really fun-but not very believable as a spy drama. It is all a little too casual and humorous to be convincing.

The show tries (too) hard for laughs ... Walsh does what she can with the material, but by the twelfth time she utters the word "dude," her efforts fall flat.

A show that offers few laughs and just as much entertainment.

The past is suddenly malleable. This removes all the stakes, but also downgrades 12 Monkeys from fatalistic sci-fi dystopia to a predictable genre piece. Not horrible by SyFy, or even cable thriller standards, but still disappointing.

As it stands now, the case-of-the-week approach is as hackneyed a take on Minority Report as FOX could have come up with.

The acting lacks conviction, but with a script this predictably sudsy, acting chops aren't at the top of the required list.

Charlotte and Jonah don't get enough screen time, which is the shame as they are the main reasons to tune into Ozark, which is otherwise not worth the commitment.

Limp and gratuitous dialogue often borders on melodrama, and none of the characters are particularly compelling or interesting. [Sep/Oct 2014, p.83]

Overall, it took Once Upon a Time a season to fall flat; Penny Dreadful does that immediately.

If you can tolerate the overly histrionic pilot and are curious enough to find out what "the event" actually is, of which there is no mention in the pilot, then NBC has a Lost-esque show on its hands. Count me out.

Running Wilde exerts so much energy setting up the jokes that they end up forced. Arnett breaks off a couple of great one-liners, but Running Wilde has a lot of work to do in order to even be a good sitcom, much less a Hall of Famer like Arrested.

Corey Hawkins does a perfectly serviceable job in the thankless role of playing the new Jack, as do the other leads Jimmy Smits and Miranda Otto. But you'll have more fun rewatching your season one DVD.

Welcome to Wrexham is, in a word, boring. The documentary-capturing cameras have been on from before day one and they’re capturing the dullest footage there ever was.

The clichés are too silly and obvious.

Underwood always plays overconfident characters, and Ironside is no exception, but the wheelchair aspect makes it feel like he is trying too hard. None of the other characters are defined enough to balance out anything Underwood is doing. The stories are textbook cop fodder.

O'Quinn doesn't have nearly the command he did on Lost, even if he is in charge. Any scenes with the gang members' families are just plain cringe-worthy.

The original series was nowhere near being the most profound television of its time, but at least it was entertaining. The Gossip Girl reboot’s uninteresting storylines, paper-thin characters, and lack of purpose cannot even claim that praise.

[The actors'] experience and timing makes the writing work better than it is written, but they are working overtime to get that to happen.

Granted, Dollface is a comedy, but it’s not a comedy for tweens, yet that’s how the series plays out.

The big, heartfelt, Dangerous Minds style lines that are geared at squeezing out tears are so cheesy, predictable, and trite, they cause eye-rolls instead.

A wonky framing device, where Moynihan fills in gaps in the storylines directly to the audience, is given no explanation as to why it's even there, or who he's talking to; you're left to suspect that the writers couldn't figure out a more organic way to clue viewers in on why these scenes are being show to them.