Overall, The Knick is a sublimely addictive ride for which viewers will want to scrub up.

A spoofy, sarcastic and hilarious exercise in adult animation.

A beautifully affecting biopic about the tragic and glorious life of blues pioneer Bessie Smith, showcasing a gutsy, soul-and flesh-baring performance by Queen Latifah in the title role.

It won’t be the hit of the year, but Fresh Off the Boat is worth a look.

Laurie is a wonder. His drawn face, scraggly beard, hollowed eyes and gaunt body add an offbeat distinction to his dignified performance. His is a sinister quirkiness. [15 Nov 2004, p.F-01]

The prettiest soap opera on TV continues to offer a refuge from the present while mirroring contemporary attitudes and evolutions.

The first four episodes supplied to critics are engaging, but especially in the aftermath of his passing, the shadow of James Gandolfini is, sadly, everywhere.

Maximum Bob evokes a little of that quirky show ("Northern Exposure"), with a talented ensemble cast, rich characters, and a script that doesn't write down to viewers. [4 Aug 1998, p.E-01]

It is exploring new turf in terms of a relationship drama with a bold narrative premise, and vaguely spiritual aspirations.

While uneven and not as immediately seductive as David Chase's 'The Sopranos,' Ball's Six Feet Under is a daring exploration on a theme, funny to creepy to plain weird. [3 June 2001, p.E-01]

This series won’t change the world, or even the world of TV comedy, but it is an intriguing diversion.

Problematic. ... The captivating McDermott as a defense attorney needs tougher characters to bump up against if he is to struggle meaningfully with his inner self. [2 Mar 1997]

Beneath the craziness and violence are some great character studies, meditations on the nature of humanity, clever social commentary, fun flashbacks to vampire lives in past centuries and, as always, cable-ready hard bodies.

Whedon’s trademark humor in the midst of action-adventure (per “Buffy the Vampire Slayer”) saves the day as often as the very human, yet very gifted heroes. That protects the fantastical from becoming ridiculous.

His name is above the title and, depending how you feel about James Spader, NBC’s The Blacklist may become your favorite fall show.

The series has some work to do to extricate its characters from the hole it dug in season 3.

[Elf: Buddy's Musical Christmas is] clever enough for adults, sweet enough for young kids and musically inventive enough to please the worst Scrooge.

Conflicts and tortured characters abound. Unfortunately, the drama goes somewhat soggy when the camera leaves the tight confines of the submarine and the complex plotlines twist into knots.

If you can get past the showy physicality, there's real meat here...Unfortunately, the series is frequently its own worst enemy...Every so often, (it feels like every few scenes), the visuals overwhelm the content, and it's clear the producers are intent on using every bit of license that cable networks allow. Story is overwhelmed by effects. It all becomes "deeply superficial," without the ironic twist. [1 Sept 2006, p.F-01]

Tremendous footage of mountain treks and river running make the spectacle compelling while the sometimes clunky dialogue gets the message across.

Bunheads hasn't quite found its footing, but shows great promise thanks more to the cast and crew than to the initial hour.

Will delight those who know a bit about the star-making machinery. It will tickle sports fans and entertain anyone in search of a decent adult comedy. [7 Aug 1996, p.G01]

His sly humor regularly saves his epic battles of good versus evil from being one-dimensional, and "Storm of the Century'' is no exception.

While Moore's performance is riveting, the most insightful aspects of the tale are the insider reactions.

Chronicling Cathy's journey, executive producers Darlene Hunt and Jenny Bicks (a cancer survivor) have so far taken her from denial to rage to bargaining and depression. Onward to acceptance, and to a satisfying conclusion.

Purists will miss the trappings of 221B Baker Street. But Elementary is appealing on several counts. Count No. 1 is Miller.

HBO tackles some familiar territory--beauty and the perils of aging, crowsfeet to sagging cheeks--but treats the subject from several new angles thanks to the candor of the older, wiser, still stunning former models.

What "Nashville" on ABC and Arrow on the CW have in common, is appealing characters in well-plotted stories.

The direction by Susanna White is subtle, except for a too-frequent visual pun of kaleidoscopic, prism-like refractions to help us see that the world at the moment of Parade’s End is splintering into pieces. Cumberbatch pulls off the stoic-to-shell-shocked expressions of Tietjens, Hall is masterful in a demanding role and Clemens is suited to playing the fresh young thing.

G&O feels less serious of intent, less urban or urbane than “Broad City.” But fun.

The 10-episode dramatic comedy, dropping Tuesday on Amazon Prime, is romantic, funny and fresh--ripe for binge-viewing.

The first film is well constructed to be unnerving; the second offers the sight of "Grey's" Dr. Yang toting a revolver. Both make for creepy-rich summer viewing.

Judging by the first handful of episodes, Battle Creek is a tad more eccentric than the usual CBS drama, a refreshing step beyond the procedural format. Not a challenging series, but a watchable one.

London Spy, premiering Jan. 21 on BBC America, is a complex, sometimes cryptic import that is worth puzzling over.

Great casting, terrific costumes, even a worthy new original song made it a spirited night.

After a very slow start, Outlander, from the book series by Diana Gabaldon, is a bodice-ripper with a sprinkling of science fiction, a fantasy drama with a bit of action-adventure.

Flockhart... is a compelling presence, and the tone of the writing is both fun and thoughtful. [7 Sep 1997]

[The characters] are sympathetic even when unlovable. The dialogue and physical gross-out moments are equally frank. And hilarious.

Clearly, writer-creator Julian Fellowes knows how to keep fans hooked, cleverly playing out credible character traits across time, and knowing the breathless pace of change resonates with our current passage into another modern age.

CBS may have the most appealing nonscripted hour of the fall. [4 Sep 2001]

With Louis-Dreyfus inhabiting the central role, the writing shines.

The series successfully blends super-heroics with women’s post-war fight against sexism in a fun, winking way.

Neither [Welcome to Sweden or "Working the Engels"] is awful, neither will make you cancel other plans.... The execution is slick, and sister Amy has cameos, but how many times can they make the sauna jokes?

Confirmation is not nearly as nuanced as the recent O.J. Simpson trial docudrama on FX. It’s also much shorter and more reliant on news footage. But it similarly revives memories of a wild media/cultural/political flashpoint.

Fans will enjoy picking out the many sight gags and puns in the dense, multilayered animation. But, on first viewing, and unlike "The Simpsons," the "Futurama" pilot isn't fall-off-the-couch funny. [25 Mar 1999]

Not only is it creepy, suspenseful and full of splendid special effects, veteran actors and fresh young faces, but it's laced with big thoughts about environmentalism and the future of the planet.

Well told, well acted, The Strain might be just the thing for fans of “The Walking Dead” feeling a little too calm this summer.

Promising aspects of opening night were the interactions with Jon Batiste and the Stay Human band, the Oreo cookie binge as a metaphor for indulging in Donald Trump jokes, the nods to both Letterman and Jimmy Fallon, and the peek at what Colbert will be without his Comedy Central blowhard conservative mask. The George Clooney “interview,” not so much.

While the first hour is daunting, the series offers a terrific villainess who also has a knack for humor. [28 Aug 2005, p.F-03]

Based on both content and time slot - between "Home Improvement" and "NYPD Blue" - Spin City is potentially the breakout hit of the season. [17 Sept 1996]

While the plot rests a tad heavily on a couple of wild coincidences, writer David Wolstencroft ("MI-5") has constructed an interesting tangle of smart dialogue and credible characters to put across a rather cynical view of lawyers and law.

It's telegenic, adrenaline-pumping drama, edited to manipulate as well as inform. (Not for nothing is a fresh-faced young female urologist the first character introduced, talking about a penile surgery.) But it's also real and, for that reason, far better than the "Grey's Anatomy" soap opera.

The thrill of the chase comes through in the film.

This experimental extended series takes its time before making any sense. Dive in, and marvel at the fact that at least it’s different.

The thrill of rock 'n' roll as it took a turn toward modern punk, discovered disco and made way for hip-hop in 1970s Manhattan is captured in a fresh way in Vinyl, a tough-minded series.

Rampling brings her primly authoritative presence and a stern look to the task. Her scenes with Hall crackle with tension.

It’s a next-gen “Barney Miller,” a smart workplace cop comedy.

The Starz 10-hour miniseries is a beautiful, fun period piece populated by amazing talent.

Like most docu- reality TV mashups, the need for drama on-screen trumped detailed explanations. Choppy editing comes standard. Still, the tension between the impulse to search and the need for privacy is clear. Emotions run high and the conflict makes for good television.

It's easy to get hooked on the drama's fast-paced, international intrigue and tony visuals (shot in London, Scotland and Morocco). It's almost enough to keep you from contemplating some of the more outrageous turns.

It may be preposterous. It may lack the political finesse of "The Americans" or "Homeland." But with tight shots of nervous eyes and cinematic displays of Jack's heroics, 24 still excels at high anxiety.

A fun, intriguing new drama...Inspiration is allowed to take all sorts of liberties. Fortunately, the production values of the show are high and no attempts are made to portray aliens on screen, for instance. The director wisely lets us imagine an unexplained power source with a whirl of wind rather than cheap-looking spaceships or funny-looking men with antennae heads. [8 Sept 1993, p.1F]

A good concept in need of nurturing. [20 Mar 1995]

It's tough work that may help the viewer appreciate the miracle that occurs any time an indie movie actually makes sense, let alone transports audiences.

A well constructed, masterfully written piece, Hannibal exceeds the "ick" factor of any crime procedural on the air.

The overly gruesome operating room moments are best glimpsed through shielded eyes. The rest of the drama draws viewers in with rich characters, a breathless pace, a refusal to pigeonhole good guys versus bad guys, thoughtful observations about family life and midlife relationships, and intriguing casting. [22 July 2003, p.F-01]

Darker than "Desperate Housewives," and even less nuanced. [11 Aug 2005]

The tone ranges from fun to scholarly as colorful drawings enliven the film.

For better and worse, it feels like an extended version of a "Curb Your Enthusiasm" episode.

It is formulaic but built to last. Think of this expensive remake as 'Touched by a Kimble.'... The workmanlike hour continues to mine old themes of alienation, injustice and the search for truth. [5 Oct 2000, p.E-03]

The series has great potential. The question is whether Empire should stick to being a good family drama in a vibrant contemporary setting with a topical issue woven into the story, or whether it can measure up to the pretensions to great literature.

This isn't a procedural with a neat answer at the end of each episode. But it is involving.

Yes, they [Amanda Peet and David Walton] throw sparks, but it's more than that. The quick reparte and the presence of great secondary players is also a crucial part of the appeal.

A funny but not particularly inventive political comedy about four Republican Senators sharing a house in Washington, D.C.

Outrageous. ... Thanks to inspired editing, it all hangs together. [14 Jul 2003]

Vegas is likely to be successful simply because, at heart, it's a CBS crime procedural with cowboy threads.

Heather Paige Kent is endearing as Lydia DeLucca, a 32-year-old Italian Catholic from New Jersey, who breaks off her engagement to pursue her dream of going to college. [5 Oct 2000, p.E-03]

Two sweet, funny, even poignant dramedies ["About a Boy" and "Growing up Fisher"] launch on NBC this weekend, both helping midseason feel richer than the meager offerings of the network's fall slate.

The direction and writing are subtle but intriguing, like Highmore's innocent grin.

Matthew Lillard, Emily Rios, Thomas M. Wright, Ted Levine and Annabeth Gish are well cast and their characters are fully sketched. Having seen two hours of season 2, I’m not ready to give up yet, but I’m starting to prioritize TV’s darkest hours and wonder if The Bridge will make the cut.

The casting and direction are solid. We'll stick with it for now to see if there's growth in the character relationships, too.

The second hour is more engrossing than the first, and is easily rich enough to keep us coming back for more.

Plays to an older crowd with its by-the-numbers approach. [29 Sept 2003, p.F01]

The Girl, directed by Julian Jarrold, impeccably re-creates the film technology of the time. It also delivers a psychologically astute reading of one of Hollywood's more bizarre entanglements.

By trying to make her politically neutral, they threaten to defang the drama.

Even if zombies aren’t your cup of TV, there is plenty to appreciate about the construction of Fear the Walking Dead.

All in all, its assured storytelling and fine performances give a worthy contemporary spin to a classic.

Wayward Pines is eerie, atmospheric and compelling. The new series on Fox is addictive--until it takes a turn toward the metaphysical.

As the mystery unspools, Darcy withdraws from Elizabeth, and their relationship falters. Suspicions are raised, and Elizabeth must sort out the truth. Expect a dramatic trial and a surprising new suspect before it's all over. Of course, the joy isn't in reaching an answer. It's in the journey.

Scott Bakula as Capt. Jonathan Archer is not as commanding a figure as some past captains. But his inexperience suits the prequel's tone. [26 Sep 2001]

Think of it as a def Dallas, an African-American Dynasty for 2003, a blend of MTV and BET that finds itself on UPN. ... Sex, violence, music and some eye-catching casting make this effort worth a look. [13 Apr 2003]

Heavy dysfunction gets a backup laugh track, and it can turn mean. But Lorre knows how to wring dark humor from tragic circumstances.

Depending on your tolerance, it's either a ridiculous presentation best suited to a drinking game (take a gulp every time the screen goes black), or a paranormal adventure that owes everything to "Lost."

Set in 1870s London, the tightly focused story of manipulative men, trapped women, an inappropriate, even abusive doctor, plus diary entries containing dreams of escape adds up to an inviting, rather highbrow wallow.

Thanks to Sedgwick, the hour is a distinguished contribution to the cop genre, delving further into a character's personal life than the "Law & Order" procedurals, and avoiding the showy visual effects that are high points of the "CSI" brand. [13 Jun 2005]

While the atmospherics are great and the cast is impressive, the weight of the film is too much for the slender premise.

The lack of a coherent storyline, even in a piece dedicated to exploring the lack of coherence in the world, makes The Leftovers a frustrating challenge.

Think the Clintons meet "Dallas" in D.C. And that, for six episodes, may be enough.