The most impressive quality "The 4400" boasts is the fact that, after tonight's episode, there are any number of directions the drama could head. There hasn't been anything this wide-open unpredictable on TV in years, and for that reason alone, it's worth overlooking the premise's flaws and following this wherever it may head. [11 July 2004]

In its own way, Wonderland is as visceral in its milieu and sliding-scale morality as HBO's "Oz." [30 March 2000, p.L5]

Some of the jokes here will jolt you from the typical sitcom complacency - no slack-jawed viewing allowed here - and if each episode doesn't quite find a moment of redemption after mining these hearts of darkness, they leave you amused enough that you can continue soldiering on in your own imperfect life. [20 March 2000]

For fans of amply endowed eye candy and anatomy-centered gags of the PG-13 variety, it's Nirvana. [14 March 2000]

Its cleverness may be a little too nuanced and low-key for mainstream audiences - the show probably belongs on a cable network, where it would be a programming highlight - instead of a broadcaster like NBC. But it's good fun to see our deity and demon bicker over minutiae while Bob looks on without comprehension. [9 March 2000]

[Westworld] impressively returns. ... The series usually hits the mark with strong storytelling that gives you a lot to ponder after the shooting is over. And the performances are outstanding. This year, the females are leading the way. Newton is a joy to watch and Wood shimmers, clearly embracing the new Delores.

After watching that first episode, we can tell you that it’s a solid return, and definitely stronger than its last few seasons. A good part of that is the chemistry of the new judges--pop star Katy Perry, country singer Luke Bryan and Mr. “All Night Long” himself, Lionel Richie--with the contestants who walk into the room to audition and with each other.

It’s Ritter that gives Jessica Jones its punch. ... This season’s story--at least in the five episodes available for review--builds to a deeper secret, and its buttressed by strong supporting players. Carrie-Ann Moss returns as Jessica’s attorney, who is fighting her own demons.

The Looming Tower is compelling television, even as it marches toward its tragic end.

Seven Seconds can be a bit obvious at times--a shot of blood in the snow with the Statue of Liberty seen off in the distance--but ultimately it settles into a worthwhile character-driven crime thriller.

Britannia doesn’t slow down long enough to be as engaging as the HBO show, but ultimately, it has enough going for it that if you like such fare--not everyone is a “GOT” fan--you can get into the Amazon show.

While none of the information in Dirty Money is particularly new, the episodes--directed by different filmmakers--solidly lay out the stories to make them understandable. However, there is something to be said about getting all this information in one sitting instead of in bits and pieces, and in this Dirty Money delivers.

The series needed someone with the glamor of Stone to be the centerpiece of the mystery, even if she isn’t the largest piece of Mosaic. The series is not the smoothest of fits, but it has enough shiny parts to keep it interesting.

Whereas Netflix’s “Black Mirror” deals with near-future technology angst, the Amazon series is more speculative. Each episode differs not only in look but in tone. So in this binge climate, it is nice having something worth binging that you can also take your time with, and “Philip K. Dick’s Electric Dreams” is that.

The thing that The End of the F***ing World smartly does is never let you forget that Jim and Alyssa are like wild animals you think you have tamed, at any moment they might turn on you and bite. Also, kudos to the series for its offbeat selections of songs.

Midway through the first episode of the 11th season of “The X-Files,” FBI agent Dana Scully (Gillian Anderson) clutches her head and moans, “What’s going on here?” We can sympathize. Up until then, the episode had played like a frenetic trailer, filled with crazy action and angst. In subsequent episodes, the Chris Carter series settles down to familiar entertaining territory, but there is a danger you might turn it off before then.

The series has something of a “True Lies” feel, with its plot winking at itself. There is plenty of action and suspense and even a “Timecop” twist. J-C, though, is a different sort of action-figure, filled with more self-doubt and regret then you usually see in the movies. But even with that, the series smartly never takes itself too seriously.

Stephen King described Black Mirror as “terrifying, funny, intelligent. It’s like the ‘Twilight Zone,’ only rated R.” That’s actually giving it short shrift. ... What makes the series special is how there is always one more twist that you didn’t expect in the same way there is always some implication--usually for ill--in a new invention that we didn’t think of. This new season will only add to the acclaim.

The Crown succeeds because it gives us this fresh perspective on the world at that time, and in many ways, the events of the royals then are not that far from what’s happening today. This Crown continues to rule.

Both events [Watergate and the Pentagon Papers] are covered extensively in The Newspaperman. There is not a lot new there, but it’s interesting to hear it from Bradlee’s perspective.

If you liked the series--you had eight years to find out--you’ll like the movie.

The series is a wild ride, an old-fashioned Western with a contemporary edge. It carries the sweep and breadth of a grand tale with the larger-than-life ornery characters you expect to find living and dying in that rugged, lonely land.

In Future Man, it bounces amusingly along for a while and suddenly becomes weirdly sci-fi serious. In the third episode, “A Riphole in Time,” there’s a plot twist that makes you wonder what you signed up for. Still, Future Man is intriguing enough to keep you going, but I wouldn’t call it one to binge.

Geere gives a very lively performance and the rest of the cast is also strong. Not the happiest of topics, but Ill Behaviour, puts an interesting face on it.

Damnation has laid enough groundwork for a solid series, and the first episode ends with a kicker about Seth and Creeley’s relationship.

Surprisingly affecting. ... The series from Peter Farrelly (“Dumb and Dumber,” “There’s Something About Mary”) and Bobby Mort (“The Colbert Report”) has an appealing likeability to it. Mostly, that is thanks to Livingston who always keeps the character real.

There may be a little more unpacking to do, but Dirk Gently has its own charming weirdness that you either go with or don’t. What’s fun about the story is that every character is obsessed with their own failings and problems while the cosmos keeps playing tricks on them.

The series is a slow burner, but the noir mystery and Laurie keep the flames going.