A gorgeous production, though the story sometimes keeps it on the tarmac.

Fosse/Verdon is a claustrophobic series as opposed to an epic one. What's mostly missing is the thrill of opening night, the chorus line, the music, the whole glorious space of the theater. That's what made these two such vital meta-humans in the first place. ... Disappointing.

Good, cleanly told newcomer that can be a bit pokey.

The story feels recycled, but Idris Elba’s Luther certainly doesn’t. He continues to fully inhabit this groundbreaking--and star-making--role.

The opening episode sometimes feels like a "Mad TV" sketch that's going on too long, and that doesn't bode well for the long haul. But that's not to say there's not plenty to laugh at - and even admire - in Wednesday's deadpan debut. [20 Jul 2003]

It feels fresh and amusing. "True Blood" did a similar fast-forward, and both have benefited.

The opener is absolutely superlative--a thing of real beauty, even elegance.... Berry delivers a performance that's surprisingly layered and nuanced.

Daredevil” isn’t only mindlessly violent, but mindless, too. The cast is terrific, production values superlative and direction first-rate.... But is there a functioning brain, or at least a higher purpose, maybe a deeper one? Like Matt’s own search for meaning, good luck finding answers.

CBS' sustained level of series craftsmanship is certainly admirable--their dramas all look sharp and function smoothly--but that doesn't go so far when even a sweeping period piece in a distinct locale with superior stars seems to roll off the same assembly line.

It all adds up to one solid nail-biter, with a profusion of clever clues that seems to cast suspicion on everyone.

If not much sunnier, not as relentlessly grim as the second, while June is slowly, methodically, morphing into the Robo-June we know she must become. So far, so good.

Most of the cast stammers its way through sentences as if awaiting a lightning strike of inspiration. When it doesn't come, the actors have to say something anyway, and that meandering search for structure is what winds up filling 30 shapeless minutes.

Well done, but formulaic.

Owner's Manual looks as sharp as you'd expect from cinematic-minded AMC -- whip-pans, slo-mo, montage, animations, infographics. Sounds great, too, with heart-pumping action music and industrial power sounds. Best of all, homework-doer Marcus (aka Sweet Cheeks) and scoffer Ed (or is that English Muffin?) are natural bicker-buds throughout, adding life and laughs to each half-hour that flies (or rolls) by.

This remains an intelligent, well-made drama that wants to get most of the history right, or at least not adulterate it too much.... But, alas, same virtues, same flaws.

Pretty much all a fan (or critic) could ask of a cult series remake is this: Does the newbie measure up? Based on all available evidence--the 42-minute premiere--the answer is yes.

Nightingale is really about David Oyelowo, a magnificent actor with astonishing range who draws viewers deep down into the darkness with his character. His skill in accomplishing this, of course, makes Nightingale something to be admired rather than loved, and, depending on your mood, maybe even something to be avoided.

"Upload" is a misfire for the great Greg Daniels, a high-concept series that plays like a bad sitcom.

I wanted to love Fringe, with its extraordinary pedigree and exotic, soulful Australian beauty Torv in the lead role, and splendid Noble in key support. Plus, Blair Brown's here, too, as a top exec at an evil corporation. But I just can't shake this word "derivative."

Because "Euphoria" is so shrewdly conceived, and often so visually and sonically striking, it's easy to overlook the fact that there's no organizing principle. Characters are introduced, then dropped. Scenes begin, then meander, then end. Segues, at least here, are for suckers. You have entered the mind of a teenager.

It's an exhaustive and exhausting film, but Garbus finds nothing that will change minds or reverse conclusions. The tragic void remains.

A good--OK, often very good--comedy that’s a little too much like “Silicon Valley.”

It's smartly written; clinically interesting (Why is Tara this way?), and maybe even a metaphor for the challenges all women face.

Doubts are raised, and convincing ones, but none are fatal blows, while the program is forced to concede at the end--in an on-screen bumper--that "post-conviction DNA testing has so far come back inconclusive."

Genial charmer that quietly makes TV history.

Sincere host, unguarded participants, sensitive treatment. And more cool stuff!

Gadd remains a first-rate talent; anything he does is worth watching. But it's hard to sit through this one.

Admirers of the novel probably will be pleased. Average viewers who never read the novel (or any historic fiction) will be either confused or bored--possibly both.