Hall is still doing something extraordinary here. Better yet, something original.

Fine, sharp opener to what already feels like a tragic climax.

Funny, tragic, scary, creepy, wild, insane. Hey, what's not to like?

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.

To call "Lovecraft Country" "wildly original" seems almost a quaint understatement. But it is wild. And original. Little doubt about that.

[Midge] needs to grow, or at least her stand-up routine does beyond the tame gags about her ex-husband or Jewsih guilt. Those remain the weakest part of "Maisel." ... These early episodes do certainly play to "Maisel's" considerable and well-established strengths. They're a romp through the English language, abetted by actors who remain effortlessly up to the challenge. As always, the writing and those performances are still what resonate, and they're just about flawless

This second season is packed, but without getting too far into spoiler territory, fans can be assured that what's here feels exactly right.

Lacy isn’t overselling her project. "And So It Goes," named for one of Joel's more ruminative songs, may not contain any true bombshells but it delves into Joel’s life in unprecedented detail. Anchored by Lacy’s lengthy interviews with Joel. .... Virtually everyone from Joel’s life — even those carrying painful baggage — shows up to speak.

Sedaris remains, as ever, hilarious, inventive, unbalanced and deeply, joyously, shamelessly twisted. Her new show’s not bad either. ... At Home With Amy Sedaris is each of those [“The Frugal Gourmet,” “Barefoot Contessa,” “Paula’s Home Cooking” and “30 Minute Meals”], on acid.

Like Walter White, she's the antihero we love to love--conflicted, intelligent, seductive, and human-all-too-human. Claire will be done in just eight episodes. A shame because she was just getting started. Claire's turn and she makes it count.

This "Dead Ringers" carves out a path that's fundamentally different from the one laid out by Cronenberg, and not just because of the gender-swapped leads. But even if it takes some time to understand exactly where things are going and why, it can fall back on one of the most remarkable performances in a good long while.

With "Succession" now over, "The Bear" makes a compelling case for being the best show on TV.

The central argument in Zimny’s loving, but unflinching documentary “Elvis Presley: The Searcher” is that his openness and inquisitive nature is what made him the King.

Excellent you-are-there film that takes viewers — and Baltimore — from despair to hope.

Fast, furious, funny, with a twist.

Millennials will watch, and you will too because this is the best new comedy of the brand-new decade. ... "Nora" is a[n] unbridled joy.

"Chad" has something no other show possibly could, and that's Pedrad's unique comic style. ... Easy winner.

There's growth and evolution in the third season, but not too much and based on a glance at the first four episodes, just enough.

Barry gets better this season--a whole lot better.

Great cast, fine performances, consistently entertaining.

Fine import with not just one, but three emotional payoffs.

Mosaic is so entertaining (it is) and engrossing (that, too) that it flies by. These six hours pleasurably melt away, and before you know it, you’re at the closing credits.

The violence and horror of this season are extreme, absent any glimmer of light down that long, Stygian tunnel. .... But that shouldn't detract from the genuine pleasures here either — the acting, the superlative craftsmanship, even the spectacular Canadian Rockies. You could do worse. You will rarely do better.

The test for the picture, then, comes in whether it's possible to emerge from it with any new insight into the man himself and into why his work resonates as much as it does. And the filmmakers find plenty of material on both fronts.

Maisel doubles down on what it did best in the first season, and feels richer (and funnier) for the effort.

A grabber from the start, quickly moving beyond the sci-fi label to uncharted drama territory. Its tale - executive produced by Francis Ford Coppola - takes place on Earth and in the present day, which should help attract sci-fi-resistant viewers. Even better, its situations are viscerally relatable, hardly as removed from our daily lives as so many other out-there allegories. [11 July 2004, p.11]

First-rate film that succeeds in re-working the story we thought we knew into the story we should have known all along.

Equal to season 1, and in some ways (the fashions, humor) superior.