The destination to this journey doesn’t sound all that compelling, but Better boasts a caliber of actors other shows can only dream about.

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.

Series creator/writer Neil Cross continues to spin dark strands that stray unexpectedly into unsettling territory.

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.

Becoming Chaz never really gets under its subject's skin.

It's not often that a movie that's important also manages to be educational and entertaining. Five is all three.

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.

The first two hours are marked by surprising twists and betrayals. TV's most cunning series is back in session.

A delectable documentary. [29 Nov 2001, p.55]

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

The Good Place,” from “Parks and Recreation” creator Michael Schur, is the true heir to “Lost,” right down to the flashbacks, half-baked philosophy and Colorforms-simple metaphors.

Schenkkhan abridges his teleplay to two hours and 15 minutes when this project might have been better served by going in the other direction, by making, say, a two-night, four-hour mini­series. ... There’s no comparing [Cranston's] performance to anything he’s ever done. All the Way is going to lead Cranston along a familiar path--right up to the Emmy podium come fall.

Russell and Rhys seem adept at the disguises and stunts. But their characters are practically flipped from pilot to second episode, and some of the black humor here is awkwardly executed.

After watching the first four episodes of the sixth season back-to-back--an endurance test I don’t recommend--it’s apparent Rescue Me is recycling plots.

Gods has its own dark humor--as when the erratic widow of Shadow’s best friend tries to have sex with him in a cemetery. “I’m trying to get my dignity back here,” she says. Gods takes delight in magnifying images hundredfold--a match being struck, a tile being cleaned. This can get a bit precious.

Things are about to get a lot worse on Penny Dreadful, and for viewers, that is a very good thing indeed.

As Pops, the sitcom cliche of grumpy old grandpa, Laurence Fishburne (most recently on “Hannibal” and billed here a special guest star) squeezes every line until it coughs up a laugh.

Cross The Bridge at your own peril. You just might get stranded in the summer’s best mystery.

The new Netflix drama is burdened with so much annoying voice-over narration, the series at times falls somewhere between an audiobook and one of the more grittier Investigation Discovery crime shows. This dramatization of the rise of Pablo Escobar into the most notorious and lethal drug kingpin of South America is nonetheless compelling, and the story moves briskly, making it a great bingeworthy treat.

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

Documentary Now! is so good, you’ll be forced to reassess Meyers, whose comedy writing is so crisp and correct, he should give up his late-night NBC show because nothing he does there will ever be as good or as funny.

While there are elements that might remind you of Armisen’s beloved--and so missed--“Portlandia,” “Forever” isn’t a sketch show. It takes some fanciful risks, but it remains grounded in Oscar and June’s journey, together and apart.

Homeland now stumbles through familiar territory, and the view the second time around isn’t half as compelling.

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

King, Cudlitz and McKenzie carry this drama, in note-perfect peformances. They make Southland a worthy part of your Tuesday night stakeout.

This Boardwalk is rife with treasure.

Some things do [change]. Homeland deepens its story for its fifth season, and this journey might be Carrie’s most treacherous.

This Is Us brims with some mighty acting. ... Creator Dan Fogelman’s script, however, takes the sting out of some major moments with some minor humor. There’s a huge twist in the final moments tonight that might have you rethinking everything you’ve watched, or might have you feeling like you’ve been played.