Three Women might have worked better as an anthology, but in its current format, it has too many superfluous elements and not enough actual drama.

Shows like How To Die Alone completely depend on the charm of the star and the cast. And Natasha Rothwell is definitely charming. But she has also built a cast around her that we want to see more of.

Billionaire Island is just getting started setting up its soapy family rivalry story, and there’s enough there in the first episode to make us hope things will get better.

The strong performances of Jeff Bridges and John Lithgow continue to make The Old Man a must-watch, but it definitely has enough confidence in its ensemble to give us stories without either of them in front of the camera.

My Brilliant Friend: Season 4 kicks off with a compelling and dramatic premiere that will immediately have viewers hooked and hungry for more. From the incredible acting to the impactful writing, this Italian series continues to expertly depict the complexity of human relationships over time and seems poised to end on a high with this fourth and final season.

The Chicken Sisters is a pleasant, often amusing show that has a good cast and wraps family drama in a refreshing package.

Wise Guy: David Chase And The Sopranos provides a lot of insight into what made Chase tick and what went into the creation of the landmark series.

Simply put: Universal Basic Guys is a deeply unfunny show. And when it’s not funny, then all of the other problems the show has are amplified.

As long as the episodes of Trigger Point‘s second season continue to show Lana and the rest of the expo squad escape one tense situation after the other — and occasionally fail — the show will continue to be entertaining, even if the overall terrorist plot is just meh.

A well-organized script and some fantastic performances makes the expansive story of Fight Night: The Million Dollar Heist an engaging, fun show to watch.

The only reasons we’re recommending The Perfect Couple are Hewson, Fanning, and our fervent hope that the series continues to be more irreverent than most shows in this annoyingly persistent genre.

Between the old lies and secrets that everyone is keeping and the new ones that have just been revealed, the show redefines “guilty pleasure” as a show where the guilty get pleasured… and pretty much everyone is guilty of something.

Just like Season 1, those personalities are so strong that we love seeing them interact with each other, even if the cases they’re working on aren’t that intriguing.

We’re unsure how the cold case ties in with the domestic homicide case that brings Collins and Adama together. It may not, but it seems that having a second, unrelated case taking Collins’ time would be a waste of plot if it didn’t tie into the other case somehow. We also are curious to see if Collins’ personal issues, plus her anger with Bradshaw, will factor in.

The Tower does a good job of telling its central mystery without a lot of filler, and Whelan’s performance as Collins is both intense and emotional.

Disclaimer is too much time to spend with characters that the filmmaker regards with indifference at best and ignorance at worst. Cuarón renders this tale of rage, regret, and retribution in broad strokes. He loses the thread on their interiority, outsourcing the conveyance of their feelings to long-winded internal monologues.

Terminator Zero takes a fresh crack at the most familiar stuff from the Terminator franchise – twisty time-travel hijinks, machine-born sentience, human-cyborg conflict – and lends the story new direction and life, as well as a distinctive, animé-inspired new look.

This is a fun show to watch, and all of the roughness Safdie throws at Sandler only just helps to show that what makes a comedy special special isn’t the big stage or production value, but the intimacy between the performer and their audience. And Sandler has that in spades.

The Lord Of The Rings: The Rings Of Power ups the ante in Season 2, but still takes its time to explore various sets of characters. It’s rare when a show gets five guaranteed seasons, and the show’s producers and writers are taking advantage of this expanded time to make the stories as good as they can be.

Despite our reservations about KAOS, we are riveted by Jeff Goldblum as Zeus, and we hope his performance makes up for a series whose satisfaction over its own cleverness shows in almost every frame.

After Baywatch: Moment In The Sun is one of those documentaries that perhaps doesn’t reveal all that much that’s new, but it’s fun to see everyone again and — yes, we’re just that basic — see what everyone looks like these days.

At this point Only Murders In The Building rides on the chemistry among Martin, Short and Gomez, and in Season 4, that chemistry is well-established. We just hope that Charles, Mabel and Oliver are as much fun running around Hollywood solving murders as they are running around New York.

City Of God: The Fight Rages On is a touch confusing to those who didn’t watch the original 2002 film, but has potential to be a tense thriller of a series after the first episode, which introduces us to characters both old and new.

English Teacher’s impressive jokes-per-minute count delivers a steady stream of laugh-out-loud moments (a simple back-and-forth about Shrek is a contender for joke of the year). And as deliciously dense episodes whiz by, the show challenges viewers to keep up in the best way possible. Chief among English Teacher‘s hit comedy ingredients is A+ casting. .... It’s a winning comedy at the top of its class, and school will hopefully be in session for many seasons to come.

Pachinko continues to be a show that deftly handles its sprawling settings and themes to make for a compelling multi-generational drama.

Even with Scott’s new testimony, the series isn’t adding anything new to the narrative that didn’t already exist.

Reasonable Doubt might not be as crazy as it was during its first season, but Emayatzy Corinealdi’s lead performance as Jax is as strong as ever.

Wyatt Earp And The Cowboy War takes an entertaining look at a surprisingly complex part of American history, with its judicious use of narration and interview supporting well-written and well-acted scripted reenactments.