This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.

Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.

The spirit of Gaiman’s classic has been captured, but not yet the vision.

As they get caught up in this TV evolution, or devolution, the weirdness grows, and the tropes change — from a "Dick Van Dyke Show"-like world, to a "Bewitched"-like world, to a "Brady Bunch"-like world. They're just along for the ride, trying to adapt with it. But what is "it?" That "it" and their bewilderment is the pleasure of "WandaVision." ... Homage in the best sense.

Congenial.

The Beales' story--predictably, sadly--descends into mutual recrimination, then near madness. It's all rescued by two stunning performances.

After a shaky start, Pete gets denser, trickier and better.

Yes, "black-ish" can be fiercely funny, sharply observed, and unfailingly good-humored about the racial divide. But just beyond that glossy surface is a serious and even compelling undercurrent.

At first these re-creations are distracting, if not comical. Then something remarkable happens: You begin to look forward to them. Each has been staged perfectly, the words phrased clearly and concisely. They begin to reveal how Watergate did in fact happen. ... Superb, but not for the casual viewer.

The most thought-provoking new series of the year on TV. [6 Oct 1999, p.B39]

"Dexter" knows what it's doing, and savors its skill immensely.

It's all standard Schumer stuff, and nothing fans haven't sort of heard before, or maybe laughed at before, or cringed at before, or seen elements of before (her 2012 Comedy Central special). Those fans should be pleased. As usual, everyone else will be appalled.

This impressive fact-based debut from cultural journalist turned director Nelson George keeps us captivated simply by honing in tight on the character of its people, sketching in fine detail not just their admirable strengths but their all-too-human flaws.

The Bridge is highly absorbing.

It's wonderful stuff, and we all seem to be on a voyage of discovery.

Information tumbles off the screen and often flat onto the floor. Too bad, because much of what's here is very funny, if occasionally cruel.

Not to worry, fans — the third is hugely enjoyable, but someone's missing and you know who.

The show itself is a charmer--full of color and vitality, while the craftsmen and women clearly have the talent and skills to make something worth looking at. The actual crafts part, however, is rushed. You hardly ever see the detailed process of making something but instead the finished product.

To steal from the old beer slogan, (this show) looks great, (but it's) less filling (than it intends).

Though they certainly cover the heady early days, filled with screaming girls and their cultivated persona as the anti-Beatles, Mick Jagger and Keith Richards aren't afraid to keep it real. Both show some interesting insights into their success.

A congenial and persuasive argument for why Apu must go.

Foremost, getting Brody off-screen turns out to be an inspired move. In his absence, there's a new world order, or disorder, with a lot of people left to assemble the pieces, including Saul, Carrie, and most of all, Dana.

Whatever it was that made Empire the sensation of the 2014-15 season hasn't gone away for the new season.

A lot of fun, especially for theater buffs.

The movie was about the sex. The series is about the work. Differences are enormous, also welcome. The series is also far more confident--understandable insofar as Lee was just starting out back then--but confidence helps the still-slight story.

Fun, lively, interesting, but also tends to lose focus at times.

The characters in "Hope" are slightly more interesting [than those in "ER"]. Even though they are working in a high-powered hospital and have God-like powers, you can see what's going on behind their masks beyond their eyes. [18 Sep 1994]

Moselle’s camera lingers on them lovingly — but nobody thought to give these characters much in the way of real personalities.