There are random fast forwards to jump to the parts of Aaliyah's story Lifetime was able to secure the rights to tell rather than trying to portray an accurate timeline of her career. For fans of the late singer it feels egregious and for casual watchers it's disorienting and uncomfortable.

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.

At the end of the day, The McCarthys feels like an incredibly dated concept done incorrectly. If it's not the worst new comedy of the fall, it's certainly giving the others a run for their money.

There is a lot to like and there is great potential, so give it a chance and see if you want to engage with Marry Me every week.

There are moments where The Flash feels tied down in flashbacks. There are pockets over-acting and cheesy dialogue, but those are easily overlooked for the sake of establishing necessary emotional connections in 45 minutes of show time.

Witty dialogue combined with the likability of the squeaky-clean Feldman and Milioti will bring you in for the first few letters, but the supporting players will keep you in through the letter Z.

This new CBS drama proved to be as trite and cliched as was expected, with the extra added bonus of gratuitous violence perpetrated against women that did nothing but produce a disgusted eyeroll.

While a nice romantic comedy is a good escape, this one uses too many romantic cliches a little too late.

Happyland is definitely a fun show with a lot of original potential. It just needs to trust itself and the ingredients it has already in the stew before going for outlandish soap opera stories over grounded character-based work.

A touching, intimate, humor-laced family drama that is easily the best new show debuting this fall, and the way you'll be able to watch it holds a not-small part of its power.

It's hard not to compare the comedy to past shows such as "The Bernie Mac Show" and "The Cosby Show" and rightfully so. Black-ish continues the momentum these shows started and brings in issues of this generation.

There's enough detail in the setting and characterization to keep it distinct from the mothership, but also more than enough of the template (down to the freeze-frame tic at the open and close of each act) to make it go down like a comforting plate of crawfish etouffee.

Gruffudd carries the series well and brings a trustworthy and genuine presence to the role of Henry Morgan. However, after viewing two episodes, it is unclear where the series is going in the long haul.

All in all--the action will draw viewers in and the loveable characters will keep them for the long haul.

The actors bring an appropriate amount of camp to their performances, spitting out slick comic-book-speak with just the right cadence.

Red Band is one of the brightest shining new shows of the fall TV season, thanks to solid writing and great, endearing cast performances.

The Season 4 struggle starts somewhat intriguing, but gets repetitive quick.

We have no idea what the future holds, but if the series holds up to the pilot, Satisfaction is an exciting and way more than satisfying journey worth taking.

Rush is a pretty good pilot that could turn into an excellent addition to USA's lineup of complicated character dramas.

There are some predictable relationship issues that are introduced between a few characters that are more than a little groan-worthy in how cliche they are. Those few issues aside, Finding Carter hits the ground running with an extremely compelling pilot.

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.

All in all the things we love about OITNB are still there--the dark humor, the camaraderie, the misery and the mystery.

Labyrinth takes way too long to hit the ground running and introduce the actual story, so part 1 is confusing and fails to get viewers to care about both the past and present storylines.

Silicon Valley has its share of pause-the-DVR laugh lines, but it's not as relentlessly funny as, say, Judge's "Office Space." It does, however, get better as it goes along.

There's a lot happening all at once and not all of it even makes that much sense. It may never help you pass a history test or win accolades for Starz, but Da Vinci's Demons is still a whole heck of a lot of fun.

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 Red Road drops viewers into a complicated situation that only gets more complicated by the end of its first episode.

Billy and Steve, and even Rodney (Nick Daley) and Walter (John Ratzenberger), get entire story arcs and episodes dedicated to their lives and troubles, and that's part of what is helping the series find its footing.