Cox's performance is staggering but then so is the performance of everyone else. Prepare to be staggered. Triumphant return of TV's best.

Dull and talky, with flashes of promise.

It's world-building without the world having already been built in countless other movies, TV series and comic novels. Watch and you have the feeling that you are at the outset of a momentous journey. ... Spectacular.

DWP does want to be provocative, just not too provocative. Mostly it just wants to keep an open mind and open heart. Mostly, it succeeds.

A little bit of "Dallas," a little bit of "Empire," "Our Kind of People'' is a whole lot of what you expect it to be. ... Silly, fun, frothy, watchable.

Uneven pilot which at least promises something much better.

"Joe" has promise and heart but — at least just yet — not nearly enough of everything else.

Yes, "Impeachment" is watchable and (yes) it's also flawed. But it's fascinating, even though you too may come to suspect, for all the wrong reasons, or one of them anyway.

Jack and Ace are sharply drawn and played but they're also a pair of sulking men-children -- drab and colorless, or at least next to Bauer's feral Wild Bill. The female characters are also underwritten in the early episodes (although Starz promises the later episodes will redress that). Nevertheless, there is something here -- call it abundant promise.

"Nine-Nine" goes out on a semi-serious note, and for the most part, effectively.

Like the original, this "GG" can be pithy and clever (that Forster line tells you as much) but unlike the original, at times glum and muddled too. It's a sibling-rivalry drama set in the age of Instagram and COVID, where social media is the true villain. That part may be accurate — just not quite as much fun.

"Bosch" honored the work of police without always celebrating that work — a neat trick, especially in 2021, but often effective here. As a reminder that cops are both fallible and human, this series always held them to a higher standard. In "Bosch," sometimes — most times, really — they actually met it.

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]

A watchable, engaging oddball.

"We Are Lady Parts" captures the spirit of punk rock in a way that's both entertaining and resonant.

What's good about "Loki'' is what was so good about the other Disney Plus "Endgame" spinoffs, "WandaVision'' and "The Falcon and the Winter Soldier." You don't need to be a Marvel expert, or know that Frigga was his mother, or that he had (has?) mother issues. ... This Loki, and those worlds, those mothers, look intriguing indeed. Loki fans will be much pleased.

In short, "Sweet Tooth" exemplifies the best of what fantasy storytelling can be, creating a whole world without ever forgetting that the most important one of all is our own.

It's a monumental bore. ... Meanwhile, in absence of plot, the cast (sad to say, a fine one) is left to chew the scenery. And chew away they do.

Concise, thorough and lavishly if grimly illustrated, "Tulsa Burning" is really all about questions [What of those victims and their descendants? Will justice ever be served for them?].

Aduba's episode stands out among the first four episodes of "Solos," which collectively illustrate how difficult it is to pull off single-character drama on-screen.

till fun, frothy, engaging — but there's a missing element.

Screenwriter Peter Filardi ("The Craft") and director Mikael Salomon (HBO's "Band of Brothers") have defied the odds, delivering a four-hour, two-night version of King's vampire-infestation parable that ranks with the best filming of his work. It has genuinely scary parts, which is rare enough in video- King, but it's also perfectly in tune with his mordant sense of humor. Wickedly funny lines are scattered throughout Filardi's script. [20 June 2004, p.11]

"The Underground Railroad" is often difficult to watch, at times impossible to watch, but at least there's beauty, power, and some first-rate performances, as compensation.

Though tension builds to a taut shudder in Monday's Part 2, it all, unfortunately, falls apart in the finale on Thursday. Weber takes so much care in restraining his character from going over the edge too soon, that when he finally reaches that precipice on the rim of madness, he never dives in. It takes courage to go as far over the top as Nicholson did in Kubrick's "The Shining." But that's what's needed to make the crazed ending more than a cartoon. Too bad. Until then, "Stephen King's The Shining" almost got it right. [27 Apr 1997]

Rarely does a TV series premiere as pitch-perfect as "Nightmares & Dreamscapes." But often does a second installment deflate as disappointingly as the subsequent second hour of this summer anthology of mystical imagination adapted from the stories of Stephen King...While the bubble doesn't burst completely, the bravura filmmaking of tonight's first hour sets a standard that's difficult to match on a regular basis, much less in the hour that airs immediately after. It's a "wow!" that's likely to stand as one of TV's most mesmerizing hours of the year. [12 July 2006, p.B21]

Funny and sharp, with some welcome (also inescapable) inflections of "30 Rock."

Imperfect, often entertaining, unrecognizable from book or movie.

There's not a whole lot of pleasure to be had in the waiting. June's ordeal has now started to feel like our ordeal. We need to have it resolved as much as she does. but like her, don't have any choice in the matter because we're invested too.