"NYC" celebrates the human spirit, not just an institution. ... A beauty.

"Succession" is going out with a bang, but — at least in the early episodes — a resigned one.

A sharp, introspective style — relying on disturbing ambient sounds, changing color gradients and consistent shifts to Dre's first-person perspective — allows for the audience to have a way in. And Fishback's performance, mysterious and unsettling while also tapping into measures of deep pain and sadness, completes the picture.

With only the first two episodes as guide — admittedly not much, or nearly enough — Odenkirk's post-"Saul '' second act is a perfectly pleasant letdown.

Some very funny stuff, ultimately overwhelmed by the very indulgent stuff.

What it's really about is the stuff that dreams are made of. As this third season will remind true-blue fans, that stuff can be very funny indeed. ... Hilarious.

A well-intentioned slog.

They've eliminated violence, or tamped it down, to get back to a kinder, gentler, "Murder, She Wrote" era — one abetted with a savage wit, and hard stop to each episode. Nice to be back there again. ... As always, Lyonne is great and her new show a winner.

Superior zombie series that takes a little too long to get around to what it's really about — us.

Stallone desperately needs collaborators who understand how to get the most out of him. He finds that here.

Compulsively watchable, as usual, but also on the reverential side. This "Crown" has no teeth.

Equal to season 1, and in some ways (the fashions, humor) superior.

Even if it gets permanently blocked in traffic, Latka and Hirsch are a lot for the average TV sitcom. [12 Sep 1978, p.35]

A true rarity — a sharply drawn portrait of local journalism.

A mostly promising start, with some unpromising distractions.

Carell gives his best performance yet in "The Patient," a compelling drama that's worth sticking with through all 10 episodes.

Great-looking but indistinctive in the early episodes (this review is based only on the first two).

Battlestar Galactica is a worthy successor to Sci Fi's late and much lamented "Farscape." That's about as high as our praise gets. [9 Jan 2005, p.11]

"House" often does work well as straight history. It's that fantasy part that's missing. Other than dragons, there's little magic or mystery in this corner of Westeros — or that epic sense of wonder that made "Thrones" so thrilling through the first seven seasons. At least those dragons are fun.

This "A League of Their Own" does what any successful remake must: it finds its own voice, standing apart from its predecessor while also honoring its legacy.

"Black Bird" effectively conveys the complicated reality of undercover work and what it has to say about the human condition. This is a must-see and not just for fans of the prison genre.

Fans of quality action and thriller storytelling will have a good time with "The Terminal List," even if they'll probably be able to predict exactly where it's going.

The first eight episodes (those offered for review) go down effortlessly and, if none was particularly memorable, each was pleasurable.

Smart, engaging and a lot of moving pieces (so do a little homework first).

Entertaining, but the book is better.

"Pistol's" most watchable episode is the last, covering the band's first and (effectively) only U.S. tour which crashed and burned after the 1978 concert at San Francisco's Winterland. But what comes before is the humdrum — a whole listless swath that spreads over scenes, characters, and episodes. Hardly anyone catches fire, including Johnny Rotten, although his spiked red hair does do a good impression of shooting flames.

"The Pentaverate" is simultaneously silly and pointless, and a welcome return to form for its star.

A brilliant piece of work, also profoundly dispiriting.