The movie was about the sex. The series is about the work. Differences are enormous, also welcome. The series is also far more confident--understandable insofar as Lee was just starting out back then--but confidence helps the still-slight story.

Excellent you-are-there film that takes viewers — and Baltimore — from despair to hope.

A congenial and persuasive argument for why Apu must go.

As usual, the production is immaculate, and Bernthal--who never disappoints--is his usual self. You may, however, wish (I did) that his Punisher wasn’t such a humorless, unmitigated jerk.

Mostly lame, but also good-natured, with an amusing finale.

It all remains hilarious and mad. One of TV’s funniest shows, and gifted stars, returns.

There’s some power and beauty in this show--and not just the scenery either, but in the humanity itself. Far from lives of quiet desperation, these are lives of quiet determination. A gentle, intelligent drama about autism, family and love.

The Long Road can be tough to watch--I saw the first three episodes--but it does seem like it’s essential to. Excellent and unflinching.

The second half is actually more enlightening, though, as Gibney and Foster do a remarkable job of explaining the challenges that Rolling Stone faces, while still celebrating its significance.

It does take six full hours to get there, but the journey — her journey — can be an immersive one. ... Terrific. Immersive. Melancholy.

Frustrating series that has promise but no payoff. And that series title. Seriously?

S.W.A.T. had a chance to do something different, maybe even provocative. So far, the same old-same old.

Bigger, bolder, in some ways better--and some ways not--2 avoids a sophomore slump by sticking with what worked so well.

Sedaris remains, as ever, hilarious, inventive, unbalanced and deeply, joyously, shamelessly twisted. Her new show’s not bad either. ... At Home With Amy Sedaris is each of those [“The Frugal Gourmet,” “Barefoot Contessa,” “Paula’s Home Cooking” and “30 Minute Meals”], on acid.

Well-done, but then TWD is always well-done. What’s missing is the thrill of surprise, or the shock of surprise. “Mercy” at least offers a hint that one may be coming.

Yes, The Good Place is strange--also ridiculously inventive, silly, smart and strangely, unexpectedly deep.

White Famous is so corrosive that it ends up fighting itself. The self-loathing here is the type that’s common to so many Hollywood satires, filled with the requisite pythons and soul crushers who keep the sausage factory conveyor belt moving. But much of this goes beyond loathing to self-lacerating. ... Awful.

Occasionally flat, sporadically gruesome, Mindhunter is also potentially absorbing.

Updated, sharply written, socially conscious, this new version wants to improve on the original and often does. But what’s missing is a compelling reason for a reboot in the first place.

It’s great have an old friend back, even better to see he’s still the best part of his own joke. It’s also reasonable to wonder whether that joke has grown just a little bit stale.

If you last the entire pilot, and your head doesn’t hurt, you’re a sturdier viewer than I.

A huggable charmer with a big heart that can’t decide whether to go deep or skim the surface.

Too rushed, too unfunny, with hardly any music. At least Hall promises better times ahead.

The first two episodes demonstrate a firm grasp on both story and style. ... Cunningly provocative project.

There’s promising humanity to The Gifted, even in the hyperactive pilot directed by “X-Men” movie auteur Bryan Singer

The supernatural action unfolds through special effects like some live-action cartoon, with maybe-aliens literally losing their heads. That matches their Fox Sunday night surroundings--but with sneaky bits of sentiment sprinkled in.

To Wisdom’s credit--so far anyway--this doesn’t look like the typical gruesome network cop drama arrayed with female victims and their predatory killers (even though there are two such victims in the pilot). It does look like a good idea in search of genuine high-tech bona fides.

Inhumans squanders its Marvel back story (largely unclear here), to come off silly and stilted (in the hands of “Iron Fist” showrunner Scott Buck), as it plods through a cheap parade of cliches in writing, design and production. Despite special effects up the wazoo, it’s utterly devoid of magic or wonder.