A touchier-feelier Ray Donovan emerges, and the change is welcome.

Fun, lively, imaginative — with a whiff of Disneyfication.

The first "Super Pumped" installment approaches its ripped-from-the-headlines story correctly, and Gordon-Levitt is great.

Newcomer Gibbs is good, but it's a shame Waithe doesn't appear in her own story — a sharply written, often amusing one.

Good newcomer, good cast and star showrunner. What’s missing, at least in the early episodes, is a propulsive story and pace to match.

Sure, the plot's ridiculous, but the film's mostly fun, while the pleasure of watching Burstyn play a homicidal wacko is not to be denied anyone.

Monday’s busy pilot (crammed with setting reveals and visual effects) leads to a sluggish second hour trading the thrill of discovery for downbeat foreboding. Yet the purpose-seeking characters emerge so starkly--Jason Ralph’s disturbed new student, Hale Appleman as his sardonic guide, Arjun Gupta as his itchy roommate, Stella Maeve as his left-behind soul mate. They feel worth following.

Ambitious and intelligent, but also a sprawl that can’t quite master all the big themes and ideas.

Fresh Off the Boat is charming, convivial, even--gasp--at times cute.

A not nearly as bad (as you feared) cop procedural, plus toys that go boom.

Tyrant gets a welcome addition, along with more intrigue.

A quick summary makes it sound schlocky, but William & Catherine is pretty slick schlock.

"Johnny's" back to corrupt the locals, and if you liked last season, there's no apparent reason not to go along for this ride.

Saccharine by jaded prime-time standards, this show still just might be the kind of sentiment lots of viewers crave at the moment.

A sensitive, nuanced and particularly well-acted dirge.

Every screen shot locks you comfortably into the familiar "Star Wars" canon, but somehow it all feels fresh and new. ... "The Mandalorian" feels like a trip worth taking with them.

This is a fun throwback and a return to form for J.J. Abrams.

The opener is marred by a conventional plot. The producers--who include Steven Spielberg--show almost complete indifference to science (or sci-fi). That said, TV's most ambitious new series has some promise.

The Last O.G. can’t help being a little sad because Morgan is a little sad, and it can’t help being a little funny because Morgan is Morgan. He so much as breathes and you laugh.

Fun, congenial and lighthearted but also smart and--when least expected--a little bit profound.

[The Canadian comedy all-stars] give it good vibes. But the scripts, despite mad moments of whimsy, can't keep pace with the cast's comic timing and tone.

Skies fans should be pleased.

Settled, thoughtful and at times engaging coming-of-age sequel.

Almost everything in The Wizard of Lies succeeds. The acting is impeccable, the script taut and Levinson’s direction scalpel-sharp. ... But what’s missing in Wizard is the why.

Another Discovery/BBC beauty, but short on answering obvious questions.

There's some very funny stuff here, but the serious question before NBC is this: How long can it stretch the joke before viewers go stark raving mad?

What's new here? Nothing, really. Jane is likable, Adams is, too, and so--believe it or not--is Hung. That's another problem. Hung needed to be scabrously funny. Instead, it's just middlebrow amusing.

Smart, engaging and a lot of moving pieces (so do a little homework first).