The characters are so shallow, it's hard to invest interest in them.

I do have a problem with the way $#*! My Dad Says is so blandly traditional, so predictably brash, and so lazy.

The light-hearted international espionage series is predictable, pointless, and, worst of all, cutesy.

It's trite and forced, a collection of cardboard types rather than characters.

Story-wise, the show is awful--stock characters, nonsensical motivations, obvious plot turns, bad acting... The routines--and the dynamic filming of them --are dazzling enough to distract from the surrounding lousiness.

It's stupid, but not in the brilliantly stupid and farcical manner of "Arrested Development." It's just a fast-paced, empty, odd-couple comedy that is irritating before the end of the first episode.

It's too bad Body of Proof is so unambitious and, at times, clumsy, as it goes through the motions of solving murder mysteries. If the writing were fresher, Delany might have a better chance of finally creating a dynamic and successful drama.

Every scene, no matter where it's filmed, inevitably seems to become some kind of Palin political dispatch.

Everything is all up in your grill. The touching moments aren't just touching; they're mauling. The life lessons aren't just suggested; they're shouted at you.

It's not a complete disaster, thanks to supporting actress Allison Janney and a smooth single-camera tone. But it's a quintessential "so what?" sitcom that practically begs you to damn it with extremely faint praise, mincing your words down to the blandest of neutrality.

The three couples featured on Perfect Couples take on predictable lifestyle issues such as mancaves and game night with all the spark of a wet matchbook.

Alas, HBO has come up with a dull, unimaginative interpretation of the podcast, essentially giving us animated versions of the three men sitting in a sound booth talking into microphones.

No, the only reason to tune in for The Lost Valentine is, of course, Betty White.

If the makers of William & Kate had loaded up their movie with higher-octane performances, and if they'd aimed for more humor, flash, and cynicism, they might have come up with a more engaging piece of camp. Instead, they deliver a royally forgettable bit of banality.

It fails to transform those events into anything valuable or special, beyond docudramatic re-creation. Ultimately, it's scope is too big, and it fails.

Combat Hospital is as bland and generic as its title.

All of these actors are pros when it comes to timing, moving quickly past the worst jokes before you realize how bad they are.

Like everything else in A&E's Bag of Bones, it is hollow and--boo!--not scary.

The cases themselves are weakly constructed, with more holes than a box of doughnuts.

Sullivan & Son is a contrived sitcom with nothing original or new to offer.

The stubbornly conventional scripts, the overfamiliar characters, and the old-fashioned, machine-gun comic timing undermine any possibility of freshness.

Made in Jersey is lame and clichéd, but it's far from the bottom of the barrel on network TV.

If Red Widow were more psychologically twisty or more excessive and over-the-top, it could be more engaging. As it is, the show is ludicrous and not much fun.

Even the actors seem grudging as they play their predictable parts. They never succeed in creating a sense of ensemble, enabling us to feel how these characters have known one another for decades.

Show creator David Schulner has failed to craft a workable TV concept, but he does keep the hours tumbling forward effectively, bringing in a number of subplots--Jason's wounded ex-girlfriend, a hostile co-worker trying to bring him down--to distract us from the nonsense.

Cult is too messy and unnecessarily complex to be the show it could and should be.

Southie Rules definitely has the characters. That's the positive news.... [But] Southie Rules is woefully short on story line, and so the producers have clearly set up situations and edited episodes in order to provide viewers with a narrative.

There is no sense of who Cheney is, beyond his restatements.

Everything aside from Pacino in this movie is surprisingly ordinary and lacking.

The story wanders slowly and aimlessly when it should be tumbling toward a climax. It’s a ride on flat terrain.

Certainly a superhero needs to have gravitas, but Jones takes it too far -- further than Wesley Snipes in the "Blade" movies.

Crash tries too hard, and fails hard too.

It walks the walk of Important Series Television, but no matter how hard it tries to be gutsy and existential, it rings hollow.

As unimaginative as its title.

It all feels inessential.

It's not awful, exactly, but it's so willfully bleak as to become monotonous.

It's a bland Spielberg wannabe that doesn't succeed in evoking much creepiness or wonder

Unfortunately, despite an interesting pair of lead actors, ''E-Ring" is stubbornly conventional and bland.

If they can emphasize the science over the tiresome characters, they might add a few ounces to this lightweight copycat.

The show takes the characters' angst and obsessions much too seriously, elevating their histrionics to soap-operatic levels when it should be flirting with satire.

If the writers and actors were willing to get a little campy, if they lifted the group's obnoxiousness factor over the top, the show might have some entertainment value. But as it stands, it's an hour spent watching dull, pretty people work very hard to be hipper than one another, as well as hipper than you.

It's not the weakest of the new supernatural pilots, but it so quickly falls into generic horror moves and a stifling atmosphere that it doesn't make for a terribly auspicious hour.