Nick, Ronald and Izzy--she’s the real brains behind GenCoin, although she’s poor and working out of her parents’ garage--are a highly unlikely collaborative trio. I didn’t buy their unity for a second.

The Shannara Chronicles is a lot of hooey with hotsy young actors.

[The Brink] uses Black’s panicky jabber-talk style to set the pace for a frantic show that only occasionally slows down enough to be actually funny.

The two lead actors do their best to feign exasperation with each other, and with Liddiard’s cop Adelaide. But the dialogue isn’t clever--it’s more on the level of strenuous declarations.

Padded with kids including an unborn child in medical danger, its corridors filled to capacity with the most attractive doctors this side of an afternoon soap opera, Chicago Med is not a subtle enterprise.

If you’re in the market for a nighttime soap with beautiful people behaving badly, Dynasty--an update of the 1980s camp classic--will serve your needs. But as cleverly reimagined as the original has been by producers Josh Schwartz and Stephanie Savage (both vets of The O.C. and Gossip Girl), I couldn’t escape the feeling that the Kardashians and the Real Housewives franchise has made a Dynasty reboot irrelevant.

As directed by Roland Joffe (The Killing Fields), Rising has some entertaining shoot-‘em-ups and showdowns, but Joffe is hobbled by the script, which forces him to cut away from Houston to give equal weight to Olivier Martinez’s Santa Anna, the leader of the Mexican army and president of the country, and the subject of some of Rising’s most tedious storytelling.

Alternately bad and laughably bad, Minority Report is one of the few new fall shows that can probably be fairly judged on the basis of its pilot alone: There are so many things working against it, it’s hard to imagine how the show could be better, even if Fox had sent out more than just its first episode to critics.

His interview style is an effective one--opinionated without being overbearing, with just enough smugness to give some of his questions a provocative edge.

[The movie] does drag at the beginning and the end. The middle material, however, dramatizing the assassination attempt and its aftermath, is engrossing.

Powers gives you the slam-bang super-hero action you want, as well as the hard-boiled tone many cop shows aim for and seldom attain.

It’s aimed at millennials yet making fun of them constantly, and aimed at McHale fans while putting the star in his least-flattering light.

The new project’s creation is credited to Corinne Brinkerhoff (The Good Wife; Jane the Virgin), whose previous work seems too smart for what’s going on in American Gothic. I will prefer to think that, like the people in another CBS show created by her former employers, her brain has been momentarily invaded by BrainDead’s alien ants.

When Shut Eye focuses on the often separate-but-equal storylines of Linda and Charlie, it’s intriguing; the more it peels off into a tedious storyline about their son’s high school life or the illegal doings of Rossellini’s gangster empire or the strong-arm tactics of the gangster (you’ll wince at a death-by-boiling-oil in a doughnut shop), the more diffuse the series becomes.

The problem with Water is that it keeps promising revelations that are constantly withheld, as though we might not keep watching if the show tipped its hand about what all this dream investigation is really about.

The entire enterprise is sentimental and predictable, which goes without saying. What pulls it all together is what pulls together everything Dolly Parton touches: heartfelt emotion, un-ironic portrayals of modest sincerity (Nettles and Schroder are particularly effective), and a gift for turning treacle into musical gold.

Handler has said she wanted to move away from the jokes she used to make on E!’s Chelsea Lately about banal celebrity culture, and so on Chelsea she makes banal political jokes about politicians.

It’s just an okay sitcom with a frequently charming performance by Olson, which may be enough for a while, wedged in between New Girl and Bones. But it also seems like the kind of project that could leave Olson feeling trapped.

The opening real-time hour is pretty engaging--knottily plotted yet streamlined enough to hold the attention of football fans left burping on sofas across this great land on Sunday. ...But after a few hours of 24: Legacy, I wasn’t very engaged by all the scrambling around, the twists that prove to be double-crosses that will probably turn out to be triple-crosses.

The premiere episode of Why? With Hannibal Buress on Wednesday night was an amiable half-hour.... The Schumer segment had a few laughs; the others were pretty flat.

The most obnoxious show of the new year thus far, Lucifer traduces the character created by Neil Gaiman and developed by writer Mike Carey in the Lucifer comic-book series.

If I’ve left the impression that Happyish isn’t a laugh-fest, I’ve done my job. But the show is not without its pleasures. As I said, Coogan and Hahn have good chemistry, and there are some genuinely funny moments (none of which I can recall now). Ellen Barkin is exceedingly welcome any time she pops up briefly as Thom’s profane pal.

Rosenbaum is charming, and so is Sara Rue, as his assistant at the church. But pretty soon, the dumbness begins to settle in.

Hale is a winning presence, all wide eyes and cute Peter Pan collars. ... The show has a handle on quick jokes and comic reaction shots. ... When the people around Stella start getting real with her about their struggles, Life Sentence struggles at finding the proper tone.

Don Johnson, who’s worth his weight in gold or oil--anchors the show as North Dakota tycoon Hap Briggs.... You can bet the first hour climaxes with some of the main characters rolling around in oil, punchin’ and brawlin’. But the show could develop its own mythology of contemporary wildcatting.

Stitchers is the kind of show that thinks that by having Kirsten make a sarcastically knowing reference to Catwoman, it’s immunized itself from charges of silly sex-objectivism; it hasn’t. I don’t see sci-fi fans putting Stitchers on their radar, or fans of Pretty Little Liars sticking around very long after the PLL premiere.

Containment has a reasonably suspenseful pilot as directed by David Nutter (Game of Thrones, The X-Files). But as the series proceeds, it just becomes more repetitive and tedious.

After a mildly amusing opening taped piece featuring Tom Hanks as a duplicitous astronaut, the hour went downhill fast.