Leaving Neverland has justifiably drawn criticism for being one-sided. It notes Robson’s lawsuit only briefly and never mentions that Safechuck filed a suit of his own. Those are flaws, but the stories of these two men are too compelling to ignore. A riveting story of childhood sexual abuse and its devastating effects on survivors and families.

With just eight episodes as evidence, this third season appears to be flawless.

Umbrella looks, feels and sounds different [from other comic book TV adaptations]--music does much of the heavy lifting, and effectively so. It's a gorgeous-looking production that evokes another world, with both feet still firmly planted in this one.

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

Some genuine charm here and Buscemi; otherwise premise, story and that joke get old--fast.

There are a whole lot of ideas here--a few thrown against the wall to see if they'll stick--but the real pleasure of this four-hour head trip are the performances. Lyonne is outstanding.

Good performances, strong start, but the pulp and cliches eventually take over.

Underwhelming open that feels underfunded too.

A fun, nostalgic, energetic re-entry that makes up for that sometimes bloated bore of a first season.

A nutty sprawl that's often amusing, occasionally interesting, sporadically informative and almost completely off the rails. A hoot.

A thin story spread over a lot of hours, but Ali is excellent and so is his support.

There was lots of life left here. If these first couple of episodes are at all representative, there still is. (But still too bad about Peretti's departure.)

"Real Housewives" meets "Temptation Island" with an unexpected, and welcome, twist--Lohan is more or less the mature presence.

No teeth, no energy, no fun, this Vanity Fair can occasionally feel like a homework assignment.

Relatable, but especially enjoyable.

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

Another fine Le Carré adaptation but not quite as fun as 2016's "The Night Manager."

Because Kominsky is so blue and so tin-eared, when it tries to draw close to anything resembling real human emotion, it emotionally founders then sinks without a trace. ... Creaky and leaky.

Yes, Dannemora is hard and cold. The light is muted, the shadows deep, while seven hours of this could easily turn into prison time. But thanks to that cast and Stiller's masterful direction, they don't--not once, not remotely. One of the best series of the year.

You dive into the deep end of this pool and struggle to make it back to the surface, not because you have to (although in my case I did) but because you can't. That's obviously good, also occasionally frustrating because Homecoming can be parsimonious with information. ... Then, there's Roberts, who is superb (and always is).

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.

At first these re-creations are distracting, if not comical. Then something remarkable happens: You begin to look forward to them. Each has been staged perfectly, the words phrased clearly and concisely. They begin to reveal how Watergate did in fact happen. ... Superb, but not for the casual viewer.

Smart, engaging, thoroughly updated.

Dinklage turns in a fine performance, but his passion project is otherwise a standard-issue biopic.

The Conners skillfully picks up where "Roseanne" left off and even manages to improve on the predecessor.

The Alec Baldwin Show is about Alec Baldwin. The guests are props for his observations and worldviews, or foils for stories about his brilliant career. ... Soporific.

If anyone but Fillion tossed out a line so smothered in schmaltz, you'd either laugh or groan. But Mr. Likable nails it and largely nails this comfy, corny and (yup) likable pilot, too.

It's good. Showrunner Tim Doyle, the former executive producer of "Last Man Standing," obviously knows his way around big Irish Catholic American families of the late 20th century.