The level of comedy is again superlative, with Appleby and Zimmer carrying the cynicism and viciousness to new levels.

Dreyfuss is sensational as Madoff, a twinkle in his eye as he explains his "magic."

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]

The plotting is intricate, the entire acting ensemble is first-rate.

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

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

[A] well-researched film.

The cinematography is stunning, the music and atmospherics are immersive. With occasional hiccups the acting is mostly subtle. Suspension of disbelief will be required (how else can Bassam/Barry slip out of his father's palace in the middle of the night to rendez-vous with an old journalist buddy?) But Tyrant is worth the effort.

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

Togetherness is very L.A., and very of the moment. For some it may feel too true.

Although it's less than exciting and not at all a comic respite, Saul has me along for the ride.

While the hour is entertaining and moves briskly, it lacks the subtlety (not to mention violence, great opening credits and bad wigs) of The Americans.

Duchovny is eminently watchable.... At times the music is more involving than the acting, and appears a useful cover for some lame dialogue. But creator John McNamara ("In Plain Sight") successfully layers sociology, crime story and period music in an involving semi-historical drama.

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.

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.

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

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.

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.

Trump's narrative skills are as grating as his accent, but the hook is undeniable: With peeks into The Donald's penthouse, boardroom, helicopter, limo and his taste in hiring and firing, this debut has solid entertainment value. [8 Jan 2004]

There seems to have been a conscious decision to add a dose of not just violence but horrific suspense and shocking violence. The first hour in particular feels like a disappointing departure. The character remains the same, even if he encounters accentuated gore and mental illness in the criminals. He even grows a bit.

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]

The debut is cinematically beautiful, the cast is top-notch, the story is compelling, the characters distinct, the music stirring. The question is, why now? [30 Dec 1997]

Grand special effects, impressive acting by the young Sequoyah and an enduring interest in all things supernatural may help Believe to catch on.

The documentary, narrated by Benjamin Bratt (son of a Peruvian mother), is rather dry in spite of the rich subject matter. It's particularly slow-going at the start (the pre-Alamo section is a slog), but it picks up steam as the chronology moves toward the modern age with notables contributing first-person accounts.

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.

The CIA office politics are getting old, but the topical references remain gripping.

Truthfully, a little bit of this fun farce may go a long way.