The Sci Fi Channel's brilliantly reinvented Battlestar Galactica - a terrific miniseries in 2003 - is now the full series it deserves to be. If it's given the room to grow that the 1978 original never got, it could end up being one of the best sci-fi television outings ever...An intelligent, attention-demanding, character-driven show, it marks a maturing of the sci-fi series genre. This series is to ``Star Trek'' what ``Hill Street Blues'' was to ``Dragnet.''

Cybill is bawdy, rowdy and fun. Indeed, it's a comedy for the over-the-hill gang to look at - and laugh ruefully along with all the wrinkle, cellulite, bad date, bad sex, bad marriage jokes. [11 Jan 1995]

If the concept is captivating, the execution, at least in the pilot, leaves something to be desired. [12 July 2004, p.e37]

The production values are exceedingly high, and you could find worse excuses to stay up past your bedtime. [12 July 2006, p.038]

Kevin Smith's animated "Clerks" is pure looniness with a crunchy layer of sweetness at its heart. The stars of the original 1994 indie film are all here, including Smith as Silent Bob. The animation is crisp and the facial expressions alone can be hysterical. [31 May 2000]

The Beat resonates with a quirky, dark pulse. [21 March 2000]

This part of Dylan's story is, of course, well known. In understated style Scorsese makes it fresh, unearthing a wealth of rare performance footage of the impossibly young and magnetic singer and mixing it with incisive talking head interviews. [26 Sep 2005, p.41]

This eight-episode installment available Thursday just might be my favorite of the series. It has more heart and far more willingness to address the messiness that comes with adolescence. It also features several genuinely creepy moments that have everything to do with something not of this world.

The number of betrayals and reversals in the next two episodes are enough to twist any sane viewer into a pretzel.

It all seems so ridiculous until you remember we lived through it. At times, “Loudest Voice” plays like a white collar version of “The Sopranos,” as when Ailes orders his PR guy and fixer Brian Smith (Seth MacFarlane, “The Orville”) to take care of a leaker. Crowe, covered in mostly great prosthetics and looking as if he is wearing a fat suit that ate another fat suit, wheezes with every waddle and authentically underplays a human volcano.

The results are nothing short of breathtaking. Without relying on the fancy special effects of a film like "Apollo 13," the 12 episodes tell their fascinating real-life sagas patiently, clearly and with reverence for the courage of the astronauts and their support teams. [3 Apr 1998, p.52]

The six-part “Years and Years,” an often funny, often bleak, deeply unsettling look at our near future, follows the fortunes of the Lyons, a Manchester, England, family as they are rocked by the political and technological changes shaping the world. Imagine “This Is Us” crossed with “Black Mirror,” only with a slightly lower body count than the NBC sobfest.

ABC’s “Reef Break” is everything that CBS’ “Hawaii Five-0” should be — breezy, bright, a wee bit sassy, a whole lot silly, the ideal summer show to catch as a nightcap before bed.

As with every good soap, there’s a bit of cathartic pleasure in seeing rich, gorgeous people suffer like the rest of us mere mortals. Whatever word you choose to describe “Big Little Lies,” the new season looks to be just as addictive as the first.

Whatever pacing issues the miniseries has fade away in the final, 90-minute installment as DuVernay proves to be a canny storyteller, saving the most harrowing, horrific, heartbreaking chapter for last.

Newcomers can enjoy the film on its own — it features a few flashbacks to catch viewers up to speed — but it’s best savored after a series-binge. This film can stand as a series finale and, just as strongly, as a springboard for more episodes.

When “Catch-22” takes to the skies, it soars. The aerial sequences are some of the best visuals seen in any TV production, beautiful and terrifying.

In this true-life horror tale of a government refusing to acknowledge scientific fact and its ruthless demand for obedience, “Chernobyl” feels especially timely.

Williams is magnificent. ... It’s a small miracle that “Fosse/Verdon” never loses sight of its goal — capturing the love and frustrations of two talented people who could never let each other go. “Fosse/Verdon” is “Scenes from a Marriage” — with none of that jazz.

The dramedy digs deeper, tightening the connections between these seemingly random residents.

Despite the often tense, even grisly moments, the show remains furiously funny — as when Oh as Eve reacts to a robocall from a roofing company or craves a hamburger during a visit to a makeshift morgue. As the object of a growing manhunt, Comer manages to constantly keep viewers off-balance with a performance that is perpetually off-kilter.

Mattfeld delivers a nuanced performance as a woman who has chosen to meet the world with hostility as a calculated defense. No matter how middling the story, she’s always worth watching.

In its best moments, this reimagined “Zone” features some of today’s most intriguing actors and swerves from fun to disturbing and back and is just as provocative as the original.

The #MeToo movement would seem impossible to riff on, yet Veep’s gloriously inappropriate writers have found a way.

In true Bluth fashion, what you think you know about the Bluths you don’t know at all.

After watching the first five episodes, I don’t recommend watching “Now Apocalypse” every week. I do suggest waiting to the end of the season and downloading the series in one sitting. Now Apocalypse plays like the kind of show that can only benefit from a decadent binge.

Leaving Neverland is not balanced, not by any standard. It is, however, a devastating testament to how childhood sexual abuse rages like a ferocious cancer through survivors and their families.

If its characters continue to be dumb about someone in their midst (hey, see how that title comes into play), it could diminish them and the show. ... [Unlike ABC's Whiskey Cavalier,] this show goes beyond the standard cloak and dagger to ask some serious ethical questions about methods and how even the most seemingly benign operation can lead to civilian collateral damage. For treating us like grown-ups, you might be willing to make friends with “Enemy.”