As good as Hawke is here, Johnson just might be better. A winner.

Comey's story in black and white, with not much shading in between.

Props for a diverse cast and first-rate performances, but "4" does sprawl, occasionally sag.

Samuel L. Jackson reveals a hidden side of himself, and that's worth watching for that reason alone.

"Away" should be much better than it is, squandering a fascinating subject on pedestrian family drama.

To call "Lovecraft Country" "wildly original" seems almost a quaint understatement. But it is wild. And original. Little doubt about that.

The rigid adherence to the recurring segments means Animal, Fozzie Bear and many other staples barely show up, while a lot of attention is paid to the rather unsettling "Okey Dokey Kookin," in which the turkey host gobbles excitedly over dishes featuring chicken and pork and the Swedish Chef wraps a Muppet mole (yes, the mammal) in a tortilla.

The series works best as a clinical dissection of how this happened both from a conceptual standpoint in terms of formulating the case and piecing the puzzle together, and from a practical one. ... The documentary feels perilously thin for such a rich subject. "Fear City" would benefit from being longer and more in depth than just three episodes.

The cast is excellent, the writing superior and the direction, too. ... But this "World" does suffer from lack of scale, or at least reduction in scale. This could easily be a Syfy series as well as a Peacock one. It doesn't soar off the screen to wow you, or shock you.

Hall is still doing something extraordinary here. Better yet, something original.

A mostly superficial fast-cut of Schumer's marriage, pregnancy and life on the road that never pauses to ask, why is she subjecting herself to this?

Hardly quaint or entirely redundant, these three are at least good, and the third — written and directed by Oz Perkins — easily the best. But something's still missing and that was the bane of the first season too: Neither sharp-edged nor jagged, they don't stay with you, or haunt you, or vex you in some hard-to-define way.

A dull slog through L.A. noir.

It's rather painful to report that the series itself is just not very good, playing like an infomercial without any sort of deeper engagement with the subjects at hand.

"Grantchester" is back. "Grantchester" is still good. "Grantchester" — even without Sidney — is still "Grantchester." ... Still as gentle as a summer shower.

While a deeply moving tribute to those we have lately come to call "heroes," this proves they've been heroes all along. (It was filmed before the pandemic.) A can't-miss beauty.

Coel's a great talent — no doubt about that — but this can be an aggravating, unfocused sprawl at times. The power and horror of Arabella's ordeal is the unintended casualty.

The opposite of greatness. Specifically, "Space Force" is a five-hour bloat full of temporizing dialogue, a few-too-many gags relating to gastrointestinal malfunctions, and a CGI chimp and dog who deserved better. ... Yeah, bad. Long bad too.

As a viewing experience, "Grant" is often engaging. While the docudrama dialogue can be clunky — the common fault of these things — the battle scenes are much better. ... Salinger's ("Ripper Street") Grant is good too. His eyes capture what Grant must have felt: Unbearable sadness yoked to ironclad resolution. A winner.

"The Great" is an engaging historical satire that resonates thanks to its vision of courtly debauchery and the tremendous acting by Fanning, Hoult and the rest of the cast.

Don't miss this series, with its first-rate performances and impeccable filmmaking. It is rich and rewarding, even if it runs into the occasional plotting issue.

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

"Upload" is a misfire for the great Greg Daniels, a high-concept series that plays like a bad sitcom.

The 5th improves on the 4th (or at least the four episodes offered for review do).

Craven and corrupt, studios did ruin lives and stoke racism. But a seven-hour Velveeta-smothered corrective, along with a few nice performances and some genuinely awful ones (discretion is indeed the better part of valor on this last point, by the way)? Get me rewrite, kid. STAT. Overindulgent, overwrought, overdone.

Moselle’s camera lingers on them lovingly — but nobody thought to give these characters much in the way of real personalities.

A compelling series in fits and starts that doesn't amount to much more than a trip through an extremely strange world filled with extremely strange people.

Sausage factoryline network sitcoms like this one — most of them, really — are weirdly out of step with the moment, like the obnoxious guest at some party who drinks too much and tells bad jokes before learning that he's not at a "party" but at a wake. ... Lamentable second act.