True to Knight’s style, it boasts tremendous production values, and is energetic, racy and above all else irresistible.

“Carême” is the hottest thing to hit streaming services in a long time, and it’s sinfully fun even as it gets more and more preposterous. Seconds, please!

One of Apple TV’s best series of the year.

It’s a lot to stuff into one series and sometimes “The Audacity” does suffer from trying to do too much. But what it does accomplish is to deliver a solid right hook to the tech world and that hit proves to be acerbic, relevant and unbelievably on target, as are the performances from Magnussen and Goldberg.

Created by George Kay (“Lupin”), the tightly wound seven-episode series doesn’t waste a moment. It’s a shot of pure adrenaline.

Showrunner Jordon Nardino’s chipper but not just skin-deep show gives singer/YouTube sensation Miss Benny and Cattrall juicy roles to sink their teeth into, but all the characters are written and played well.

Filled with huge tentacled beasts in the sea and monster-sized land creatures on the infamous home of King Kong, “Skull Island” makes you feel like a kid who just discovered the best comic book ever.

Berg throws dirty, cold water onto any romantic notion about the Wild West and that might put some off. If you’re one of them, stick with “Yellowstone” instead. But if you were a fan of “The Revenant” (Smith wrote it), this addictive series needs to make it way into your queue.

She asks all the wrong questions and her insipid comments and blunders net 90 percent more chuckles than groans in director Al Campbell’s fun and funny mockumentary.

“The Clearing” eerily succeeds in making us feel how hard it is to break the bonds from a cult-like figure and entity. The evocative cinematography and nervy performances (Guy Pearce reflects the analytical face of evil) keep you on edge and uncertain where this one’s heading throughout.

"Black Doves" does go off the rails, but it does so with a wink. Everyone in the cast understands this is not deadly serious and gets into the energetic spirit. But it is the pairing of Knightley and Whishaw that make "Black Doves" fly high.

The three lead Latino characters, and the actors who play them, in Netflix’s breezy, Miami-set comedy/drama are so likable and charismatic you can’t help but kind of fall in love with them. I defy you not to.

Apple TV+’s seven-part adaptation of Laura Dave’s 2021 page-turner improves as it progresses, tossing out solid twists and then hitting us with a satisfying wrap-up.

Yes, it strains credibility. So what? Most creations from talented author Harlan Coben (Netflix’s “The Stranger,” “Safe” and “The Woods”) do. We’re hooked from the first episode. With its tongue-in-cheek humor and wild twists, this will become your next guilty pleasure.

The writing remains sharp as a stiletto, and the cozy mystery is puzzling enough to keep us guessing. Streep and Rudd make it even more entertaining. They’re having a grand time, and so will you.

Marvel buffs will be able to collect their fair share of Easter eggs, but this one can be enjoyed by a PG-13-suitable crowd that prefers action (this one is pretty violent, though) with a relatable plot that doesn’t require you to watch all in the MCU canon to understand what is going on. In supporting roles, Kingsley Ben-Adir stands out in this promising leap forward for Phase 5 of the MCU.

Any mother with a newborn will feel like they’ve stepped into their worst nightmare when watching this well-done Paramount+ six part series based on Sarah Vaughan’s novel.

“Fallout” never lags for one second and dangles from one cliffhanger to the next. The cast makes it all engaging — Goggins, in particular, rips into the show’s juiciest part and does wonders with it. This’ll be a major hit, and it deserves to be.

The series doesn’t need to warble on for as long as it does, but what compels you to watch is Rivera.

While nothing in “A Very Royal Scandal” is particularly eye-opening (except for what happened to Maitlis after that interview), it’s worth the watch to see two actors at the top of their game.

Both Binoche and Mendelsohn handle their larger-than-life characters with grace, never slipping into caricature mode. Mendelsohn, in particular, gives a tender, calibrated performance, one that’s particularly strong in early scenes involving his attempt to find his sister Catherine (Maisie Williams) during the occupation.

Due to modest budget, “The Institute” isn’t a vintage King production — even though the author is an executive producer on it — but it keeps you on edge and speculating why these children are made to suffer.

“Griselda” doesn’t necessarily elevate the bar for drug-running dramas — except for Vergara’s performance, Knut Loewe’s exceptional production design and the dead-on costume designs and hairstyles. But its mission is accomplished with such ferocity and clarity of purpose. Dig out that old pair of angels flight pants and just enjoy.

Yes, it has a rough spots (a bit involving Hsu singing in a car goes on way too long) but it rights itself every time because of the comedic and dramatic chops of Hsu and others in this talented cast.

A promising start of what could well find John Creasy (Abdul-Mateen) reprising his role as the PTSDing loner.

The plot gets so dense you practically need a road map to follow its many paths, but that is part of the fun of a mystery-thriller that hits you with surprise after surprise.

“Fight Night” is funny and violent and not only touches on the blatant racism of that time but has an assured grasp of ’70s styles (the feathered locks of Terence Howard — who plays a member of the mob — are a sight to behold). But it really punches above its weight when Cheadle, Hart, Jackson and Henson are onscreen.

Creator Howard Overman understands that an action film can’t stand on the merits of its thrills alone and needs interesting characters to make it all that more involving.