Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.

The show is no better or worse than "Perfect Couples," "Mad Love" or "Traffic Light." Which is to say it's populated with likable actors and rarely out-and-out bad, but it's also never much more than mildly amusing.

The four guys at the center of the show, in addition to actually being friends before the cameras came around, are portrayed as caring, involved dads, albeit with a few sitcommy quirks.... But thinking the dads on Modern Dads are somehow unique is really not capturing the whole picture.

It's a goofy idea but not entirely lacking in a curious appeal.

Like several new shows this season, the ABC comedy is neither cover-your-eyes bad nor set-the-DVR-season-pass good. It just sort of is what it is, which is occasionally cute and amusing--thanks mostly to a cast of comedy veterans--but largely forgettable.

With so much serial killer programming on TV, like "Hannibal" and "The Following," Those Who Kill could carve out its own little place. But it's going to take some work. On the bright side, the show has Sevigny, who is the clear standout on the series.

The writers of Community have done a good job with what they were given. The problem is, they needed Dan Harmon.

But when a show reaches the level that Nurse Jackie did in Season 4, reverting to cruise control isn't enough--and Jackie is just coasting through its new run.

While there's definite potential in the show, there were a few things about it that just didn't work.

It's trying too hard to be a "sitcom" that looks and feels straight out of 1992. The bones are there, but the execution is lacking.

The multicamera, laughtrack sitcom is completely unoriginal, the jokes are recycled and many of the characters--especially Reba's obnoxious teenage son and daughter--are underdeveloped stereotype. Still, the charismatic country star and Tomlin's droll Lillie Mae, who successfully balances her sharp tongue with surprising softness, are entertaining.

Visnjic's smooth and mysterious turn in just a handful of scenes instantly emerges as the best thing Red Widow has going for it. That's either the sign of a series with fundamental flaws, or the roots of a show that will only get better as it goes.

Where the show stumbles a little is in the case itself.

Because there's no direction to the story just yet, the show balances on Heigl's appeal. Although she is styled well and written to be likable, she's not going to win you over with her charm.

The show feels like it should be better.

Merchant uses his gangly physicality (at 6-foot-7, he towers over everyone else on the show) to good effect in scenes when Stuart is on the make. Despite that, though, and despite the fact that Merchant is willing to make himself the butt of the joke, Hello Ladies doesn't quite pull off the trick of making Stuart someone you want to spend week after week seeing.

The cast is good enough and the premise strong enough to carry it. Right now, though, Deception is a show that doesn't know what it is.

Once you get past the idea that the bad guys are working for the good guys, it's a pretty by-the-numbers crime show.

NBC is clearly aiming for a network companion to their successful "Top Chef" franchise here, but while the aesthetics and the challenges are decidedly Bravo-esque, the personalities don't ever come close.

There's something both frustrating and fascinating about the way Showtime's classy but surprisingly dull new drama Ray Donovan aspires to greatness.

It's a fairly standard crime procedural whose hook doesn't really add much--and actually seems like it could be an obstacle further down the road.

The new FX drama from "Homeland" and "24" executive producer Howard Gordon balances family with politics in a show that constantly questions what the right choice is when torn between the two, but oftentimes finds itself bogged down in soap opera-style drama that distracts from the greater, more ambitious story that it's trying to tell.

Lucas is actually quite good as Mitch, as is Molly Parker as his wife, Abby. The issue lies more with the mechanics of the plot.

It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.

The characters aren't terribly deep and the dialog doesn't take advantage of Emerson's and Caviezel's acting chops.

It still carries a decidedly throwback vibe, and the ongoing bluster about the state of manhood in the world feels, at best, two steps behind the times.

It's hardly the worst show of the fall, but it never really lands.

OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.