Bouncing between bloody good and bloody brilliant. [12 July 2006, p.D1]

It changed the look of King’s lead vampire from a cultured villain to a ghoulish beast recalling Max Schreck’s makeup in “Nosferatu” (1922). [22 June 2013, p.E4]

Visually arresting, epic in ambition and impressively acted by a splendid cast, The Stand" looks like King's close encounter with "The Andromeda Strain" crossing "Wild Palms, building its suspense around a deadly epidemic that wipes out most of the world's population and leaves the survivors seeking a new beginning for good or evil. [8 May 1994, p.1J]

It's a bit of throwback, which makes it sort of a time trip in itself. A fun ride. [21 March 1995, p.7F]

As deeply disturbing as it is brilliantly compelling. ... A top-to-bottom standout cast that makes the mesmerizing most of this potent material.

[The first five episodes of this fifth season] provide overwhelming proof that “Better Call Saul” remains one of the best shows of any kind anywhere on television. And Odenkirk hardly is the only compelling reason to follow this series. All of the characters are intriguing.

Although the pace is at times too deliberate and many of the story elements seem familiar (earning the dubious raised eyebrow Mr. Spock put to such good use), it’s not difficult getting to the end of this third episode. For one thing, the series looks terrific. For another, you’re in great company all the way. The cast is marvelous, starting with Stewart, the finest actor ever to wear a Starfleet uniform. His aging and conflicted Picard is an endlessly intriguing revival of the character. He not only keeps you involved but also (to borrow the captain’s trademark phrase) engaged.

Falling into an erratic pattern, the annoyingly choppy "Wonderland" follows an incredibly powerful moment with one that's incredibly forced. Intriguing confrontations lead to unrealistic plot twists or hackneyed resolutions. Artfully constructed dilemmas are undermined by cliches...For every step in a brilliant direction, Wonderland takes a stumble. A dark drama filled with dreary and haunting images, the ABC newcomer has ambition to spare. What it lacks is consistency. [30 March 2000, p.1E]

So relentlessly watchable it's likely to be habit-forming after two doses, City of Angels is more than a promising midseason addition. It makes an immediate case for itself as the best drama on CBS. [16 Jan 2000, p.6I]

Ambitious, imaginative, provocative and engrossing. ... A triumph of style and substance, it never sacrifices pace for preaching or pontificating. At least in the first six episodes made available to critics, it remains every bit as entertaining as it is intriguing.

An intriguing and surreal serving of fun fantasy. It’s an ideal role for Rudd. Well, make that two ideal roles for Rudd.

Like many an anthology series, it is a bit uneven, sometimes corny and clunky, sometimes wonderfully sweet and sentimental. But when on top of its game, “Modern Love” produces some magically romantic results. The touching first episode is enchanting proof of that. ... Another superb entry stars Dev Patel.

An endearing and often-poignant eight-part adaptation of John Green’s first novel. ... They [writer-producers Josh Schwartz and Stephanie Savage] are aided in this mission by performances that are every bit as refreshingly genuine as the writing.

The era-by-era approach can lead to a bit of a by-the-numbers feel, as Burns and Duncan make a mighty effort to touch every base in every decade. This also robs the film of the grand overall cohesion that holds together such epic efforts as “The Civil War” and “The Roosevelts.” Because of this, “Country Music” often feels like eight two-hour films rather than one intricately interwoven effort. But each of the segments is intriguing in its own way.

It’s difficult enough staying on track having seen the previous two seasons. If you want to make up your loss, go back to the beginning and work your way toward the third season. And be prepared to be challenged. ... What hasn’t changed is that “Legion” remains an intoxicating experience laced with a grand sense of wonder. The humorous touches are every bit as clever as the visual treats. The performances are every bit as compelling as the production team’s command of the narrative.

Fear of the future informs every scene and every performance in “Years and Years,” a deeply disturbing yet absolutely riveting six-part British miniseries. ... Along the harrowing way, Davies is swerving ferociously from horror to humor to heartbreak to heartwarming, without ever losing his balance. And the magnificent cast goes right along with him, with particularly strong contributions by Kinnear, Reid and Thompson.

The cast, led by Kevin Bacon and Aldis Hodge, is exceptional. The intricate web of story lines is intriguing. And there are several moments when “City On a Hill” jumps to startling life, providing us a glimpse of the series it could become.

If the first three episodes of this second season are any indication, what’s waiting is another exceedingly wicked, exceedingly adult ride through riveting territory.

The highest compliment you can pay “Deadwood: The Movie” is that it is the continuation and the conclusion that both the series and its fans deserved. It’s just that good. It’s powerful, at times profound, at times bittersweet.

A spoof that works for people who love vampire films and people who don’t. Even the obvious and sophomoric stuff is served up with a wicked twist. Humor and horror tend to be flip sides of the same coin (metaphoric means of dealing with painful subjects), and you find them twisting around each other in ferociously funny ways throughout these episodes.

Why does this murky version of Christie’s 1936 novel occasionally hit wearisome and plodding stretches? It’s never because of Malkovich’s portrayal. It’s the directing and writing that comes up short. ... Despite the erratic nature of the direction, “The ABC Murders” often is gripping fare, with each installment serving up more than its share of fiercely memorable moments.

While Pugh, Skarsgard and Shannon hit vastly different emotional notes, each finds the shadings and conflicts that make these characters more and more compelling as the plot gets thicker, the players dig deeper and the stakes get higher. It is, Pugh, however, who makes the grandest impression in what is both a star and star-making turn. You might find yourself quibbling with some of Park’s direction, but never with Pugh’s performance.

The ingredients aren't always in proper proportion, yet enough of the magic works in this series to keep you under its spell, episode after episode. The acting styles can be all over the place as well, and still, due to the strong cast, it doesn't undo the spell.

Better Call Saul just keeps on getting better and better. That's an easy call, particularly after seeing the gripping first three episodes of the "Breaking Bad" prequel's fourth season. ... One constant in Better Call Saul is that, as riveting as Odenkirk is as Jimmy, this hardly is a one-actor showcase.

It's a free-wheeling good time with a good heart and some good laughs.

This is a solid case of so far, so pretty good.

A lovingly crafted tribute offering many laughs, a few tears, some intriguing insights and just a constant swarm of warm memories.

Like its characters, Sharp Objects is not without obvious flaws, it's also not without impressive strengths. The cast, led by five-time Oscar nominee Amy Adams, is exceptional, making the deep pain and overwhelming angst of these characters both vividly real and incredibly fascinating.

Sharply paced, A Very English Scandal doesn't make the mistake of overstaying its welcome. The story is told in three tightly packaged installments that cover the endlessly curious ground efficiently and elegantly.

An intoxicating mix of wicked comedy and "Lear"-like tragedy. ... There's nothing all that likable about the Roys. They are a vain, petty and avaricious lot. But they are incredibly fascinating, thanks to the riveting performances and the razor-sharp writing.

The brilliantly dark five-part limited series starring Benedict Cumberbatch is a compelling journey laced with pain and overflowing with absolutely riveting performances.

If not as sharply realized and profoundly resonant as the "Battlestar" reboot, this "Lost in Space" is a visual stunner packed with exhilarating action sequences. It's not a great drama, but it is great fun.

At the black heart of this uneven but often-mesmerizing crime drama is Donald Sutherland's sly and spellbinding portrayal of the richest man in the world, J. Paul Getty Sr.

The ever-audacious comedy continues to surprise viewers in all sorts of unpredictable ways. As bold and daring as ever, producer-writer-star Donald Glover's cable series picks right up where the first season left off--fiercely funny and marvelously mercurial.

The troubling questions and terrific performances are enough to keep you following this murky trail, if you're not seriously burned out on serial killers. There seems to be one waiting around every corner in television, and this dark corner can be found near the intersection of trite and tremendous. Absentia is both.

From the casting to the writing, the show has class, leaving you with the hope that Jack will be destined to a long stay in Toledo.

Simmons, as you might expect, is equally convincing as each Howard Silk, but he's only getting revved up for the many twists and turns taken in this 10-episode thrill ride. ... Still, no matter how convoluted things get, you keep coming back to the two Howards, and, because of Simmons, you want to.

The acting styles range from sullen underplaying to over-the-top melodrama, and that mix can be quite effective. But both can be carried too far, with the underplayed stuff tending toward somnambulism and the over-the-top extremes inducing a cringe or two.

Jauntily paced and cleverly written, the wonderfully engaging Mrs. Maisel is packed with winning regulars (none more so than Brosnahan's Midge), witty banter (a Sherman-Palladino specialty), sensational supporting players (including Kevin Pollak and David Paymer) and an exuberant sense of optimism (despite the obvious and incredibly daunting obstacles a female comedian faced in the late '50s).

Godless manages to come across as both familiar and fresh. Plot lines are recognizable without becoming trite. Characters are taken to predictable extremes without sliding into caricatures.

Yes, there are times when excess gets the better of this series. Pace occasionally becomes a problem, as we move from episode to episode that could be more tightly edited. Yet the sheer vitality of the performances keep us fully engaged.

It all comes together spookily well, with Lore resembling nothing more than six late-night trips to the campfire for some splendidly spun creep-out stories.

Time and again, over a span of more than 35 years, we find Burns constructing bridges that insightfully and profoundly link Americans with their history. Nowhere has that been more powerfully true than in the 18 hours of his stunningly realized, intricately detailed 10-part film, The Vietnam War.

Comrade Detective does is not overstay its welcome. There's just enough here to sustain six episodes. That works. Anything more would have been a crime.

Will is as sensual as it is suspenseful, as bawdy as it is bloody, as lusty as it it is lyrical.

The good news is that Snowfall, the searing FX drama about the 1980s crack cocaine epidemic in Los Angeles, does start moving at dazzling speed after a slow, plodding start. The bad news is that this occurs somewhere about the fourth episode.

A darker shade of "Green"? Yes, at times, grim realities are made a trifle more real. Does that work? Yes, often wonderfully well.

An extremely smart, wildly eccentric and very adult comedy. And if Bacon is bringing the heat, then Hahn is the aching, searching heart of this series.

It's a slow start to be sure, as American Gods gradually, deliberately but surely draws you into its elaborate, impressively nuanced world, where old myths and religions intersect with new American gods.

Worth watching? Oh yeah, particularly for the genius of Rush and Flynn. Despite the inconsistent nature of the dialogue, the series obviously has much to recommend it. It's superior, if not superlative.

The hallmarks of a Hawley show are wonderfully offbeat yet endlessly intriguing characters, boldly innovative visual flourishes, a somewhat antic sense of humor, marvelously textured universes, compelling performances and whip-smart writing. Are all of these elements to be found in the immediately riveting third-season opener of Fargo? Oh heck yah, youbetcha.

AMC's best current show? Not even close. By a big stretch, it's the "Breaking Bad" spinoff (and prequel series) Better Call Saul, which launches its third season in grand style. ... It feels like some kind of brilliant first cousin.

Part of the intoxicating magic of Feud is the fierce relish with which Sarandon and Lange circle each other warily, clash, back off, then clash again. It is a mesmerizing, perfectly executed dance--a bitter tango staged somewhere near the intersection of "Sunset Boulevard" and the "Boulevard of Broken Dreams." The brittle dialogue rips along with waspish intensity, and adding to the storytelling wizardry is an outstanding supporting cast.

As raw and raunchy as the comedy sometimes gets on Crashing, there's something incredibly endearing and downright sweet about this new HBO series. That something is the performance of the immensely likable Pete Holmes.

If not a triumphant return to form, Big Little Lies is the best new Kelley series in quite a while. It contains all of his considerable strengths (sharp and clever dialogue) and some his weaknesses (precious and labored moments). It is nothing less than fun, if never much more than that. But that's more than enough to keep you engaged and keep you watching.

Patience and attention to detail are rewarded handsomely, however, as Legion serves up a an instantly compelling narrative laced with an intriguing sense of mystery and wonder. It makes for a riveting adventure packed with razor-sharp dialogue, clever visual touches, surrealistic flourishes and wonderfully winning performances.

A darker, more complex reimagining of the Archie universe. Did I say dark? Let's add moody, murky and, at times, creepy. It also is surprisingly engaging, thanks in no small measure to the winning performances of KJ Apa as Archie Andrews, Camila Mendes as Veronica Lodge and Lili Reinhart as Betty Cooper.

What Mars lacks in consistency, it makes up with scope and scale.

Peyton List stars in this immediately riveting mix of police drama and time-bending fantasy.

While unquestionably a strange brew, No Tomorrow also is quite bewitching. It's fun falling under its spell.

Visually very different from the film, TV's Rocky Horror Picture Show also boasts superior choreography and wildly inventive costuming. It's a wonderfully dark castle packed with twisted delights.

Thornton is sensational as the shattered Billy McBride, a one-time star litigator who took the ruins of his life and crawled into a whiskey bottle. When he's not on screen, you grow impatient for his return.

There are moments (like the aforementioned withdrawal episode) where you think about giving up on it. But those thoughts disappear once the show's surprise is revealed and Elliot recognizes his true purpose. That leads to Season 2's premiere being a thrill ride. ... Mr. Robot has the potential to be [as good as "Breaking Bad."]

The remarkable thing is that, even with a bigger cast, Kohan never sacrifices a whit of clarity or energy. Orange Is the New Black is as fresh and as vital as ever, and you don't always see that in a fourth season.

Beneath all of the insanity, BrainDead again and again demonstrates it has a brain in its head. It's goofy-good-time stuff, all right, yet it has a point.

It is packed with towering performances that boldly and magnificently reinterpret characters who have become part of our national folklore.

Already TV's most literate and stylish horror drama, "Penny Dreadful" is adding new and intriguing elements to the ambitious structure as the third season begins.

Writer David Farr updated le Carre's novel with expert care, and his script is stunningly realized by a sensational cast guided by the unerring direction of Susanne Bier. Indeed, just about everything goes right in this sexy, riveting and suspenseful miniseries.

It's quite a good one. It boasts a brisk pace, strong direction by Rick Famuyiwa and a superb cast led by Kerry Washington as Hill and Wendell Pierce as Thomas.

From the first frame, it's clear that Jackie Robinson is a genuine labor of love. The warmly crafted two-part, four-hour PBS documentary from filmmaker Ken Burns positively glows with its admiration for the man and his accomplishments. ... Another mighty home run for PBS.

The marvelously textured performances and addictive narrative remain the most compelling reasons to watch Outlander.

Mr. Selfridge has some enticing items to tempt those shopping for a quality viewing experience. At the top of this list is the gift that keeps on giving: Jeremy Piven's wonderfully textured portrayal of Harry Gordon Selfridge.

Perhaps the most astonishing thing about this stylish, wonderfully atmospheric British production is how fresh it seems. It's not as if this is a tale rarely told.

The Americans stands tall in a crowded field of quality dramas. It keeps getting stronger and stronger, a realization underscored by the arrival of the fourth season.

The writers do take the occasional misstep along the trail. The series has it didactic moments, to be sure, as well as the occasional cartoonish character (usually among those chasing the runaways). But these drawbacks are more than offset by the riveting narrative, the outstanding lead cast and a seamless weaving of the greater historical context into the ongoing story.

There is a razor-sharp focus, as well as a renewed sense of purpose, in the six new episodes Netflix made available to critics in advance of the fourth-season premiere.

Once this crime thriller lures you in and really gets going, it's an off-to-the-races ride that never forgets to delve deeply into the dark sides of the central characters. Derivative? Yes, but in endlessly sly and fascinating ways.

The documentary not only is a moving tribute to the prolific director who died at 84, it's a reminder of what's too often missing from so much of television and pop culture--conversation... real, in-depth, smart, respectful, insightful conversation.

Travolta's cartoonish Shapiro is the exception, after all, and even most of the peripheral performances court favorable verdicts.

This first hour is all about reinvention. It's a rather clunky attempt to remake the 1993-2002 vehicle in a manner that will please loyal fans and new viewers. The second episode, with guest star Doug Savant ("Desperate Housewives"), pushes this redesigned vehicle into a higher gear.... Now this is the X-Files we fondly remember. Can they push this to yet a higher gear? Why, yes, they can, and they do with the third episode.

[These] episodes find the celebrated series running true to form. That means an occasional misstep, to be sure – too much time inexplicably spent with one of the blander characters or a less-than-intriguing subplot. But, for the most part, it means elegant storytelling that richly blends social commentary, comedy, soap opera, romance, intrigue, tragedy, melodrama and razor-sharp satire.

Although some liberties have been taken with the characters and plot, it is an immediately intriguing, wonderfully textured realization of Dick's challenging book.

Much of this sounds grim, but Breakthrough is anything but depressing in its overall tone. After putting towering problems into chilling perspective, the series humanizes the issues, keeping the focus on individual stories.

The Crazy Ex-Girlfriend premiere also was full of surprises, taking oddball twists and turns with, not only Rebecca, but the supporting characters as well. All in all, an impressive prime-time debut for Bloom as star, co-creator and executive producer of the slyly crafted show. That's the good news. The great news is that, from what the CW has revealed of future episodes, Crazy Ex-Girlfriend appears to be staying on the wild and unpredictable track.

The two-tiered, supersized season premiere tells its compelling story with flashbacks intercut with what's happening in the present.

The first hour of FX's The Bastard Executioner is a bit of a slog.... Just when you're thinking the battle is lost, Sutter goes all medieval on us and pulls everything together in a fiercely compelling manner. Patience is rewarded, and The Bastard Executioner suddenly becomes every bit as addictive as it is intriguing.

In some ways, the show recalls the early days of "Beverly Hills, 90210." With its exceptional writing and sensitivity, however, it resembles nothing so much as a "teensomething" version of "thirtysomething." [25 Aug 1994, p.1F]

Much of this takes a by-the-numbers approach, but the cast is strong, and you get the feeling that the second episode is more indicative of where the show is heading.

And yet, given how derivative it is, (say it with me now), Humans turns out far better than you'd think possible. The performances, pacing and direction are that compellingly good, at least in the first two episodes made available to critics.

Emphasizing action more than character, Babylon 5 is a show that's simply grittier, more exuberantly freewheeling and more fun [than "Star Trek: Deep Space Nine"]. [25 Jan 1994, p.9D]

It's an ambitious and engrossing combination of mystery story and medical drama - and a powerful reminder that docudramas can be more than true-crime sleaze. [11 Sept 1993, p.1E]

Loco is the right word for this amiably goofy and endearingly dumb comedy. [8 Nov 2001, p.E11]

The tone of the second season is slightly different from the first, yet he remains remarkably true to his stated metaphoric mission. Have no fear, it's the same Penny Dreadful, but Logan is shaking things up in all kinds imaginative ways.... No if about it. Penny Dreadful works.

We have fifth-season banquet of delights spread before us.... With each season, that load is spread out more and more, with young players coming into their own and crafty veterans added to the cast. The storytelling also gets stronger and more assured, pushing Game of Thrones to greater and grander heights.

This show manages to give us the hilarious, horrific and heroic... and it has brains.

Aspects of Battle Creek seem familiar, to be sure, yet it registers high on the giddy scale thanks to energetic direction, clever writing and the comic chemistry generated by Duhamel and Winters.

While the political dynamics have changed greatly, House of Cards remains an addictive mixture of over-the-top soap opera, wicked dark comedy and sly melodrama.

Better Call Saul is an offbeat drama with moments of quirky humor. The drama is wonderfully heartfelt. The comedy is a little more hit and miss.