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.

Beautiful production, first-rate performances, notably the one that counts most — Erivo's.

It's an ideal match of creative talent and material, with serious appeal for history buffs of all ages.

A watchable and skillfully made telefilm (Jay Roach of "Austin Powers" fame directed) that is, nonetheless, marred by a melodramatic reliance on Good vs. Evil, and guess which side is which?

First-rate craftsmanship tethered to a relentlessly gloomily and ultimately unengaging story.

The well-written pilot has a couple of brazenly vulgar sight gags, but nothing that will shock "Two and a Half Men" fans.

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

Some brief memorable performances, particularly Cusack as a tippling housewife. Otherwise, an inexplicable misfire.

In England, critics have called Cohen the new Peter Sellers. If that's the case, it's not Sellers at his "Dr. Strangelove"-"Being There" shrewdest but, rather, at his do-it-for-the-money "Pink Panther"-sequel broadest. [21 Feb 2003]

Starts slow and gets better--while an excellent cast (and lead, in Holland) front a story that's a little more psychological than supernatural in the early going.

The Red Road demands patience, but from what I've seen, it strongly suggests that will be rewarded.

Fear the Walking Dead is slow and a little bit dull.... Now the good. Fear's opening act is a strong one. There's a nice overall build, too, particularly during the second episode.

The acting is solid all around--just not entirely convincing.

As good as Weaver and her Nuri are, the best scenes belong to Victor and her Angela Brown. ... Never bet against a show created by Mara Brock Akil, but feel-good "Love Is __" could use a little more edge and a lot more dramatic tension.

A big, beautiful bore.

What Canterbury has powerfully going for it, besides the magnetic/vulnerable Margulies, is a cast surrounding her with equal strength, from principled second Ben Shenkman to Terry Kinney as their sneaky prosecutorial adversary, plus an array of effective guest stars from the rich East Coast acting pool.

Good, smart, propulsive spy thriller.

If you love Zooey Deschanel, this one's for you. If not, a pass.

"Rachel, Jack and Ashley Too" is essentially a dystopian Disney Channel movie, or perhaps some "Very Special" episode of "Hannah Montana." ... "Striking Vipers" is better. ... The standout of the three, however, is "Smithereens." Like the most effective "Black Mirror" episodes, you're left on your own, following a story that offers no bearings, fewer clues. A gifted actor, Scott sells the episode in every scene, raging against an unseen enemy

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.

What's best about Time is its ambition; it glows with a near-theatrical shine, challenging viewers to think about TV drama as something other than boilerplate.

This is almost too clever, funny and ironic for MTV.

Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.

Thin, flavorless high school gruel, but the lead bad boy is intriguing.

A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."

Its tone can be inconsistent. With a couple of actors’ actors--Leigh and Rapaport--and Gilchrist at the helm, Atypical still manages to mostly stay on track. It’s a good newcomer with the potential to get better.

The horror is what counts in any American Horror Story, and judging from the opening three episodes, it’s more than adequate in Cult. It’s also relentless, grisly and deeply warped.

Platt is mostly excellent, but he's not a comic actor, which is fine because "The Politician" is not exactly a comedy either. Never one to be bound by labels or genres anyway, Murphy has created a dramedy, satire, tragedy, romance, coming-of-age story and political parody, all of which contribute to viewer whiplash if not exactly ennui.