Jack Ryan excels at pyrotechnics. Walls, trucks and people explode in spectacular arrays of destruction. Its fight choreography gets muddy, especially when Jack is tussling with some terrorist. ... The most charitable thing that can be said about Krasinski’s performance here is that he looks deeply, deeply tired.

Just about all the choices are bad in this season of Ozark, making this season your best Labor Day weekend binge.

The eight-episode season (streaming tomorrow on Netflix) doesn’t always make sense and yet it does enough things right--especially in the depiction of naive, impetuous adolescents--that it casts a convincing spell.

The documentary, filmed over several years, takes a nonlinear approach to White’s career and skips over things like her first two marriages. Just go with it--it’s worth the ride and ultimately leaves you wanting a week’s worth of clips.

Disenchantment casts a demented spell.

The important thing to know about this season: Issa is pushing forward. Insecure shows life never stops being a work in progress.

Patty is important--but she’s not Insatiable’s main dish. Strangely and crucially, her viewpoint often gets lost, ignored or brushed aside, at least in the early episodes. The focus of this dark comedy is Bob Armstrong (Dallas Roberts).

Lodge 49 is different. That alone isn’t enough reason to book a visit.

The humans in Animals are idiots. But the critters often have funny things to share about how we all need our packs to survive and thrive.

It brims with nice, talented people making impossibly crazy beautiful things. It’s charming and sweet and might just inspire you to make something.

You may think you know the story, but the accumulation of detail, in new interviews and video and audio clips in this six-part documentary from producer Shawn Carter (also known to the world as musician and mogul Jay-Z), begins like a light snow fall and turns into a bracing nor’easter.

Castle Rock shows a tremendous investment of time and creativity. It’s worth your walk on the dark side.

The subtleties in [Kristin Kreuk's] performance help fill in the gaps in scripts that at times range from flat to merely functional. Burden of Truth, which has already been renewed in Canada, is a show by and for adults looking for something a little challenging.

Chenoweth works her campy magic, but the energy from the show is different. A running gag involving the town’s attitude toward female drivers is hilarious and the kind of off-kilter humor Trial & Error excelled at in its first season. There’s not enough of that.

The two-hour documentary Robin Williams: Come Inside My Mind captures the magic and the mania that was the iconic comic. Bursting with hilarious clips and bloopers, it’s almost as good as having Williams back.

It’s funny, sad, invasive and unhinged.

Outpost might remind you of the heyday--or low point--of syndicated shows in the late ’80s or ’90s. It’s not “Xena: Warrior Princess”--it’s more on par with the dreck of “Beastmaster.”

Pacing issues undercut Adams, who presents a finely wrought picture of a woman who turns her anxiety in on herself with a ferociousness that leaves her scarred. ... Ultimately, the source material is not Flynn’s best work and shares little of the shocks and twists of her superior “Gone Girl.” Sharp Objects should leave more of a mark.

[A Very English Scandal] never settles on a tone. One moment, it’s delivering sly, savage moments worthy of Ricky Gervais’ “The Office.” Then it becomes earthquake serious as one heterosexual politician reveals why he wants to decriminalize homosexuality.

GLOW just bubbles with scene-stealers.

Take Two is honest advertising. It’s the second grab at a winning premise, for the same network, no less. You deserve more.

There are larger-than-life characters and then there are impossible-to-believe roles, and “Yellowstone” runs deep with the latter. ... There’s a much easier way of summing up “Yellowstone”: Horsepucky.

Man in an Orange Shirt aspires to be a both a romantic tearjerker and a heartfelt family drama. It doesn’t quite succeed on either point, but it has merit nonetheless.

Cynical shows can be fun; Deep State is undercut by some atrocious acting. One character seems to be the love child of Larry Hagman’s J.R. Ewing and about 180 pounds of ham. The faux Texas accent might cause your eyes to sting.

While the production values may be loose, Impulse’s entertainment value runs strong.

Suvari and Bartels are competent, but don’t have a lot to do in the early episodes. The scripts hit every beat you might expect. “American Woman” makes “Sex and the City” look timeless.

Their journey should be thrilling, fascinating. It’s a chore. The young leads do the best with what the scripts give them, even as they are forced to run over the same story beats.

Nash is a great find, but Plum’s unrelenting self-loathing, communicated through too many voice-overs and the occasional meltdown (which, yes, the show reminds us with zero subtlety, is the result of years of mass media brainwashing and brutal cultural expectations) makes spending time with her such a downer.

Succession makes it clear that the Roys are not especially nice people. They are also, alas, not especially fascinating. Pink slips for everyone.

Arrested Development is back. You’ve earned the insanity.

Picnic at Hanging Rock is lush, gorgeous, Gothic and at times plotted tighter than a corset.

The courtroom scenes are among the least convincing scenes in the series.

Safe is one of those series, like HBO’s “Big Little Lies,” that focuses on the lives of the beautiful and the well-to-do. It doesn’t suggest the rich are just like us. It suggests they are even more miserable, and in the case of Safe, probably quite monstrous. That’s a story that translates just about everywhere, apparently.

Despite some shaky attempts to build a convincing world, The Rain has much in common with “The Walking Dead.”

Judging from the first three episodes, the plan seems to be to throw enough explosions and gunfights at the screen so viewers are lulled into thinking they are watching some “Chicago: NCIS: Law & Order: Criminal Minds: Frontal Lobotomy” spinoff and forget to change the channel.

In its sophomore season, the series creeps deeper and serves up countless harrowing, haunting moments.

Netflix’s energetic reboot of the cult sci-fi series adheres to the best spirit of creator Irwin Allen’s vision of a family in space fighting for their futures.

The script is deliciously witty, but it never lets you forget some nice people are coming to perfectly horrible ends.

A star arose during NBC’s Jesus Christ Superstar: Live in Concert last night. No, not singer John Legend, though he did grow into his part as the son of God in this adaptation of the Andrew Lloyd Webber rock opera, and not pop star Sara Bareilles, who was technically sound as Mary Magdalene but never seemed to find her heart. Broadway veteran Brandon Victor Dixon stole the show as Judas.

The Crossing has its moments, but if you look too closely at its story, it melts away like ice cream cake left out in the sun. ABC is promising flashbacks to fill in the visitors’ stories, another “Lost” tic.

The workplace segments are rife with sexual innuendo that don’t creep so much as just haul off and whack you in the face. ... There are some funny bits.

Trust at times seems about as factually accurate as the “B.C.” comic strip, and Boyle’s visual affectations and his over-reliance on split-screens do not always serve the story well. (He directed the first three episodes.) .. Whatever Trust’s hold on the facts, it more than makes up for in its performances.

Harris is especially terrific as a man growing into his own heroism even as forces mortal and not so mortal conspire against him. But as the 10 episodes unspool and the body count mounts, the only dread you may experience watching The Terror is that feeling you are wasting your time.

Roseanne’s ability to pivot from silly to somber and back again without ever missing a beat made it unique in prime time. The revival looks to be just as authentic.

If only Instinct had a little more going for itself, it might be worth making room on your DVR.

NBC is hoping to capture the same sort of audience moved by bathos and treacle [as those on "This is Us"]. This show has its moments.

“I Kissed a Girl” pop star Katy Perry, country superstar Luke Bryan and music legend Lionel Richie form a panel that doesn’t so much practice tough love as dole out “Chicken Soup for the Soul” critiques.

Hale is pretty but bland. The voice-overs range from precious to Carrie Bradshaw impersonations.

Cross brings to this six-episode season all the intensity of “Luther” with some deeper questions about personal responsibility in the face of overwhelming disaster.

“This place, umm, has a vibe,” Earn says at one point. The same might be said about “Atlanta.” Once visited, it cannot be forgotten.

Living Biblically is made in such a way that it won’t offend most anyone. It also won’t make many laugh. That’s splitting the difference in all the wrong ways. The show is exhausting.

For all the story’s shortcomings, you’ll come back for the acting.

When you title a show “Everything Sucks!” it can be viewed as an act of defiance or truth in advertising. Netflix’s new dramedy manages both in this sludge of teen angst.

The show flexes its political correctness so hard, it forgets the most important part of TV drama is showing, not telling. That changes, for a few moments next week, when Ashley and Kristen are arrested and suffer far different ordeals from a booking officer. It’s a welcome rarity, and proof Ball can craft compelling drama, when he chooses to. Most of the characters on Here and Now self-medicate. You might feel the same urge after spending some time with this fractured family.

When the funniest things about a comedy are the cameos, it’s time to go back to the drawing board. Or in the case of NBC’s new sitcom A.P. Bio, back to the chalkboard.

The longer you stick with this nine-episode season, the more the players reveal themselves. It’s a big part of how Britannia,”written and co-created by Jez Butterworth (“Black Mass,” “Edge of Tomorrow”), transcends its genre roots.

You can keep “The Alienist” at arm’s length because it is set more than 100 years in the past. No such luck with “Bellevue.” The brutality, shock and outrage ring all too true.

There’s a real disconnect in this telling. With the exception of Sara and two junior detectives, fraternal twins ostracized on the force because they are Jewish, the story seems as dry as a box of Wheat Thins. The scenery is set. The people are dressed for their parts. But The Alienist rarely gets moving.

It's a drama. ... The Resident turns out to be hilarious in so many ways, but first you must get through the horror.

Ramirez does an outstanding job capturing a gentle man and his passion for his work. Penelope Cruz (“Vicky Cristina Barcelona”) co-stars as his doting sister Donatella, who has absolutely no use for Antonio. (That animosity is well documented.) Criss’ portrayal is brittle and needy (and not such a far stretch from the character he played on Murphy’s “Glee”).

Not nearly as bright as “Supergirl,” as angst-ridden as “Arrow” or as campy as “The Flash,” “Black Lightning” lights its own path--by being a story about the debt we owe to our community and the importance of inspiration.

The two have so much loathing for themselves, Alone Together can be downright depressing. Just the quality you don’t want from a sitcom. You might end up hating yourself--for wasting your time.

Showtime’s The Chi floats like a worthy successor to “The Wire” and then descends into the sort of bathos of a Tyler Perry production.

If this truly is the last season of The X-Files--and star Gillian Anderson has said it is, at least for her--the Fox sci-fi conspiracy thriller is going out giving what fans want. Mostly. In this, its 11th season, the show brings back familiar faces, opens some new mysteries, solves others and gives plenty of reasons to ship FBI agents Fox Mulder (David Duchovny) and Dana Scully (Anderson)’s quirky relationship to the stars and back.

The Last Post seems to be one-third military thriller and two-thirds soap opera. Some sequences are harrowing. Others strain plausibility.

A true heir to Serling’s vision of reality taking a sharp detour into the unknown.

The staging was clever and fun and the performances ranged from good to fantastic.

Some of Knightfall’s CGI action, at least in the cut the network offered to critics, is ambitious but unconvincing. When the show settles the swordplay to push plot around, Knightfall rises to far-fetched.

Happy! captures the tone “Marvel’s the Punisher” should have aspired to: grisly, gross and nutty without abandon.

Dark’s acting is serviceable, the musical choices questionable and the location shooting in Berlin is ominous. The jump scares are out of an ’80s slasher film and get tiresome.

She’s Gotta Have It proves a charismatic cast can make a shaky premise watchable.

Godless might remind you of HBO’s still lamented “Deadwood” in its expert plotting.

It’s a dank, depressing series made on too little money that could have been vastly improved by cutting the episode order by at least a third. At 13 hours, you’ll feel as if you’re the one being punished for something.

Everyone seems to be down to their last nerve here. No Activity might have that same effect on you.

His [creator/writer/executive producer Tony Tost's] critique of capitalism is overt and bracing for scripted TV, and perhaps, like many science-fiction shows, from “Star Trek” to “Black Mirror,” its faraway setting will make its message more palatable. But the weight is undercut by moments that border on black comedy.

Unfortunately, it’s not especially funny. It’s one dark, depressing look at a SMILF.

The real Grace was released from prison after 30 years of incarceration, reportedly moved to New York and was lost to the tides of history. “Alias Grace,” however, will leave you pondering the mysteries of this woman for a long time to come.

Flint is an admirable salute to the power of grass-roots activism as well as a laudable public service message.

The sequel to Netflix’s surprise hit seems as satisfying as its premiere season.

At a time when substance abuse of all sorts is roiling the nation, Loudermik, forgive the pun, is a sobering comedy, in every sense.

While White Famous proves he [Jay Pharoah] can lead a series, it doesn’t give him many opportunities to show how funny he is. It does make a great argument that everyone in Hollywood is criminally unhinged.

Fans of the original “Dynasty” know Fallon’s nastiness is just a warm-up.

With the possible exception of Barnett, not one of the cast is remotely convincing or appealing in their parts. The helicopter action is neither impressive nor especially authentic looking.

One problem with the new season is we have too few favorites left and not nearly enough time with them.

Quibbles about the premise aside, Ritter makes and sells this show. He balances the pathos and the comedy. In lesser hands, this hour just would not be appealing.

Fox’s The Gifted is everything ABC’s “Marvel’s Inhumans” is not: exciting, suspenseful and brimming with interesting, smart characters.

The dialogue is so poor, even Tyler Perry would wince.

The innuendos would make a seventh-grader giggle. ... Mullally’s Karen remains one of network TV’s greatest comic creations, even when she’s saddled with such lines as “Hasta la homos!” Hayes’ shtick has not aged well. Messing seems to be reading her lines in the pilot. It’s not all bad. The theme song has been given a kick.

The stories move briskly and come together in a surprisingly emotional finish. “Me” is smart enough to realize you can’t exist on brains alone. You need a little heart.

The only takeaway from Young Sheldon is that his present is far more interesting than his past.

The Brave’s patriotism and its approach to dealing with threats to Americans is cathartic. Plausible? You’ll have to find another series for that.

Cult is a condemnation of the truly “deplorable” among us as well as a witty skewering of liberal correctness run amok.

Most of this show is stupid stoner humor. ... There aren’t enough drugs to find the funny in Disjointed.

The Tick shows its spirit. The half-hour action comedy moves briskly as Arthur struggles to shed that super-suit that comes with awesome powers and responsibilities he so does not want.

Defenders rises and falls on what its cast can bring to the mix. The less Finn Jones is onscreen, the better. He might be the most miscast actor in any series ever. Colter brings Luke’s look and nothing else. Now Ritter and Cox, on the other hand, I could binge on a Jones/Murdock spinoff all weekend long.

[Wayans] shouldn’t have to work this hard, but that’s the funny thing about comedy. When the material’s this light, somebody has to do some heavy lifting.

As a hangdog hitman and a long-suffering auteur, O’Dowd and Romano complement each other. Is Hollywood more cutthroat than a drug empire? This series might have something to say about that. Epix’s Get Shorty is worth having.

The scatological jokes run high, while some of the action sequences are worthy of a C-level thriller.