We can say that director Albert Hughes (the first and last episodes) and Charlotte Brandstorm (the second one) keep the action and storyline lean and mean, and the body count high, allowing us to soak up every second of these 90ish-minute episodes. Wick devotees will walk away satisfied.

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.

Dickens’ rich gallery of rogues, rascals and near innocents come ever so deliciously to vibrant life thanks to an impeccable cast.

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.

The result is a compelling if not overly deep expose on a series that has run its course, thankfully for the health and well being of all.

Creator Annie Weisman does know how to keep the pot boiling, but the material, based on a novel, seems obvious and struggles to figure out what it wants to accomplish.

This six-episode series, while being essentially indistinguishable from so many others of its ilk, goes above its own pay grade when Jamie (Duchovny) starts smelling a rat likely living in his posh London digs now. That’s when the series kicks into high gear and the hunt turns deadly, if predictable.

Throw in grandiose crime scenes with those biblical implications and a bubbling cauldron in the desert and you have another bizarre guilty pleasure that taps into our dark sides and keeps us watching.

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.

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.

Dee Rees directs the first episode of this thoughtful series that says so much more than you’d expect. In pivotal roles as resort workers, Jayden Elijah and Josh Bonzie deliver the best performances — two you won’t forget.

“Senna” does less well when chronicling his love affairs, including with Brazilian TV host Xuxa (Pâmela Tomé), which seems perfunctory and less than revealing. Another bump in the road comes in the fictional creation of a female journalist (Kayla Scodelario) who pops in and out and serves as narrative shorthand for Senna’s sports career and how the media portrayed him. Fortunately, the magnetic performance from Leone makes up for much of those misgivings, and brings the series satisfactorily over the finish line.

That’s a lot of characters to keep track of, and while things bounce around like a “Ben-Hur” chariot, the series keeps you mightily entertained — even in its most ridiculous moments.

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.

With improved writing and better comedic timing, this easygoing bit of action fluff would have succeeded better.

Showrunner Akiva Goldsman takes full advantage of the 1979 setting and fashions a successful psychological thriller filled with good performances and taut direction. But this series belongs to Holland and he’s shattering to behold. His emotionally staggering performances takes “The Crowded Room” to a whole new level.

Unlike other series, “Sexy Beast” never feels like it’s overstaying its welcome, even at eight episodes, as it feeds in backstory and psychological details that we all but gulp down in voyeuristic fascination. It’s one of the biggest surprises of this new year.

Jackson and Caplan tackle the iconic roles with passion and put their own stamp on them, but the pacing and the lack of sparks make this fizzle. I lasted through five episodes and walked away with the clear feeling it needed tightening.

While there are surprising turns, and the series does improve as it progresses, “Witches” never grabs you with the power that “Interview” did. Stick to the books instead.

Anderson and Headey give it their full commitment but their characters are painfully one note.

As a storyteller, Doerr is a master at weaving all these threads and elements together while giving us more nuanced characters, but in this well-intentioned production the stitching and seams that we can see all too often.

From its novel storytelling to its engaged cast, including Helen Hunt as Miles’ mom, this is fearless and above all relevant entertainment. My only complaint? I wish there were more than eight episodes.

This superior Nordic noir is intense, sexy, well-acted and unnerving.

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.

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.”

[Crime novelist Michael Connelly's] no-nonsense approach on this four-parter makes for a compelling view of an investigation and a crime that still lives in the shadows of the Hollywood sign.

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.

Since many of the men in the study haven’t been extensively interviewed, the National Geographic series does say something new, a feat, given there have been a number of films — some good, some bad — focused on the subject. Eisner balances those personal reflections with one of Zimbardo’s final interviews.