If you manage to survive the first episode without losing your lunch, you’re in store for a disturbing, supremely well-made horror show that’s written, acted and directed with Ari Aster-like skill.

“A Thousand Blows” builds to a climax as secrets get revealed and motivations become circumspect. It’ll leave you dangling and begging to jump into its ring once more.

The ones who makes this all work are the two leads. Kingsley is a natural-born showman and channels legendary thespian vibes with every line he delivers, while Abdul-Matten II makes you feel the neuroses rooted in the psyche of his trying-too-hard character, who feels like an imposter.

Either you’re gonna love this unruly behemoth or bemoan the sorry state of blockbuster entertainment. Honestly, I kind of dug it and love the pairing of the main stars who appear to be having fun at toying with each other and this “Mission: Impossible”-like scenario.

Amazon Prime fantasy/steampunk series’ second outing is on fire, an improvement over Season 1, which was decent but plodded at times. The pacing issues are gone and the metaphors from Season 1 remain; in fact they’re even more pointed.

It’s ghoulish fun to see it all play out, but “Welcome to Derry’s” ambition sometimes outstrips its execution. The special effects can look corny and the story overloads us with too many characters. But each are given King-sized personalities.

The cast is good but it’s the shock-a-minute story that makes this hard to shake off.

“The Waterfront” is a keeper because of the outrageous behavior of its morally compromised characters — with Grace leading [t]he way.

“The Residence” never achieves the same frothy fun that Rian Johnson’s “Knives Out” series so effortlessly does except for its last Christie-perfect episode, but it’s still quite a bit of fun.

Each outlandish episode is filled with wicked wit and even busts out with a bit of song and dance. A revolving team of guest voices descend to these fiery pits of what will likely turn into a cult sensation.

By giving more weight to the personal side of the men’s lives and what Coretta and Betty contributed to the movement makes “MLK/X” one of the more well-rounded personal portraits of each.

“Vladimir” works because it is indeed funny and sexy but also because it has fully developed, complicated characters — the too-smart-for-their-own-good sort that are having a hell of a time sorting out their lives.

This eight-episode spinoff of Amazon Prime’s R-rated superhero series “The Boys” is better than it has any right to be. That’s because it cribs from the best elements of “The Boys” — outrageous behavior, shocking violence and, of course, an irreverent attitude.

While this streaming version could have been told in less than eight hour-length episodes, showrunner Nikki Toscano’s compelling take gets everything else right.

As you probably guessed, “Sunny Nights” switches from chuckles to beatings (a waterboarding scene goes on much too long) and even bloody deaths. The disparate parts create a gumbo filled with so many ingredients that it keeps us surprised and discombobulated.

“Mr. Throwback” isn’t always smooth, and gets off to a bit of an awkward start in the first episode, but turns into an irreverent meta comedy that scores more three-pointers than bricks.

That’s a lot of names and narratives to keep track of, but the story lines intertwine nicely, even if you might need a list of the characters to reference. No matter. If you’re a kaijū fan and prefer jigsaw-puzzle-like storytelling, not to mention great action sequences, this one — or at least the eight episodes released for review — crushes it.

“Forever” keeps in step with Blume’s style by not seeming like it comes from an adult perspective. That comes through in the conversations (topics include a hit manga series and popular music). The leads also are painfully real.

An ace meld of mythological elements and outlandish action sequences. It’s a mashup of “Stargate” and a superhero series as “hunters” stalk and take down evil entities itching to get out of their alternate dimension.

It’s a well-made series that exposes corruption, trafficking and injustices perpetrated on families.

This is an extra-busy series that hopscotches too often. Carrel and company are all stellar and worth crowing about but plucking out a few side stories might well make this a smoother, more tonally consistent show.

Crisply animated (particularly when it ventures into SF’s Chinatown) and gives us a multi-layered fantasy that’s unpredictable and even addresses issues of racism, sacrifice, family dysfunction and defying how others label you – without becoming pedantic.

“Smoke” is well-made and tremendously acted, and while the plot does go up in — ahem — smoke late in the game, the actors always keep us invested.

“Ironheart” points MCU in an intriguing direction and gives us characters we’d like to see more of in the future.

Each of the seven episodes speed by, but the final one let me hoping that Prime renews this one pronto to tie up its many threads.

Rian Johnson’s appreciation for serialized stories where the villains get their comeuppance in the end is well-served in this irresistible Peacock series that’s as funny as it is sharp.

Each short (20 minutes or so) episode contains better character development and proves to be more sure-footed than the live-action 2022 theatrical blockbuster “Jurassic World: Dominion.”

One of the best mystery/thriller series going delivers the intensity in its third and final season. Unfortunately, it stumbles near the finale, speeding through and forsaking the resolution of a new murder so it can get to the chewy stuff. ... Given this is the final season, it’s not that big of a deal-breaker. ... I just wish there would have been one more episode to wrap up that other crime.