The top-notch acting is still intact, as is the attention to aesthetic detail.

In the end, The Wire is extraordinary television. It has a richness, a depth and an intelligence that transcend the medium and makes it the kind of superb literature that A.O. Scott found lacking in the world of books.

[It has] a rich mix of sharp observant humor and a sure feel for the family dynamic.

And as far as the plots are concerned, don't sweat it. Tonight's engaging season-opener is easily accessible. Spend some time with these characters and soon you'll find yourself developing a strong emotional connection to them. [5 Oct 2007]

The Cold War may be over, but this addictive spy thriller is just heating up.

By the end of the opener, a web of intriguing plot lines (and their treacherous overtones) are firmly in place. As ensuing episodes unfold, the story finds its beating heart as the characters substantially deepen.

They could have made for some deadly passages, but thanks to Morgan's writing and a superior cast, these discourses on the nature of evil, and whether the truly evil ever can be restored to humanity, are mesmerizing.

The good news is that it's still got game. [7 Nov 2004, p.C09]

One of the most fully realized, innovative and flat-out exciting television debuts ever. [4 Nov 2001]

Treme, probably more than any piece of cinematic fiction set in New Orleans, feels like an authentic experience. As you watch it--and slowly savor it--you can practically taste the red beans and rice.

Season 6 jumps ahead in time and launches with a beautifully written, contemplative two-hour opener called "The Doorway."

The [first two] installments--titled "The Beginning of the End" and "Confirmed Dead"--are gripping, vivid, beautifully executed and loaded with answers to the little mysteries of Lost life.

This is a TV drama of quality, masterfully written and lovingly produced, which probably reflects what may be the most important new trend in network television: The increasing willingness of feature film talents to work in the medium. [28 Sept 1998]

The show probably wouldn't fly for a minute, though, if it weren't for the ineffably engaging Cavanagh, who looks a lot like sardonic comedian Jon Stewart, yet has the laid-back affability of a young Jimmy Stewart. All bright eyes and dimples, he absolutely sparkles in the role. [7 Oct 2000, p.D01]

It's an extraordinary achievement, particularly since the miniseries ended up involving seven directors, including Hanks, and six writers. There is an inevitable difference in tone between the episodes, but "Band" never wavers from its vision of re-creating the experience of war through the eyes of average soldiers. [9 Sept 2001, p.3E]

As its lofty production price tag suggests, The Pacific is bursting with epic sprawl and extravagance. But like any effective film of its kind, it also contains a brand of intimacy that will have you bonding with its characters and caring deeply about their fates.

The lively script by Geoffrey Ward covers a lot of ground and offers keen insights via interviews, not only with experts but regular folk who lived through the era.

It all adds up to a trip that's well worth taking.

Daisies is something you shouldn't miss, particularly if you're looking for something different on TV.

It's captivating, and also poignant.

There is no question Rescue Me walks a very thin artistic line. The miracle, in television terms, is how brilliantly it works. While heart-wrenching at times, it is also a very funny series. [21 July 2004, p.6E]

The show is brimming with salty humor, cynical rants and plenty of raunch. But for all its bleak irreverence, You're the Worst also can be surprisingly sweet, tender and even poignant.

The series returns with its creative six-shooters blazing, its florid language and baroque manner of storytelling still gloriously riveting.

An irresistible blend of soapy shenanigans, domestic tension, political intrigue and catchy tunes.

The Missing, an eight-hour thriller coming to Starz on Saturday, is so tantalizing and haunting that it qualifies as a must-see, even for viewers who might be suffering from serial crime fatigue.

Some of the characters are so simplistically drawn that it's laughable. On the other hand, we love these characters so much and we're having such a jolly good time that we just can't resist Downton Abbey.

What [director Ryan Murphy] delivers is a film with piercing emotional honesty that feels rough, and real, and intimate, and truly full of heart.

Mad Men can still keep us spellbound.