Season 3 maintains the same high standards from before and presents a twisty mystery and goes to darker moral places. It’s creepier too.

“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.

“Win or Lose” notches another Pixar win and proves yet again how the studio remains an animated champ.

As Desiree, Cox radiates charisma, a quality that pairs perfectly with her dad Wallace.

I gobbled down six of the eight episodes available for review, and will say – without even the slightest reservations – that “Lotus” regulars should check in for this third season. You won’t be disappointed. Just be prepared to get your jaw dropped and your raised eyebrows torched right off.

An improved second season patches up a few rough edges in Netflix’s enjoyable spy romp, and does so by repositioning its jocular, off-the-cuff spirit in mostly a new setting, South Korea.

“Apple Cider Vinegar” doubles as both a searing and entertaining — albeit shocking — character study of an out-of-control narcissist (portrayed with sociopathic guile by a stellar Kaitlyn Dever) and as an example of the profusion of so-called wellness experts flooding social media channels.

Even though it telegraphs its “surprises” way too often, it’s always entertaining — even as it gets tied up into plot knots by its end. As a bonus, Martha Plimpton co-stars and Stephen Rea appears in a smaller role. They get to chew a bit of the scenery, and it’s a welcome addition to this passable thriller that’s elevated by its lead star.

The series’ main plot conceit is indeed a mirage, a fake-out trick that crumbles upon closer inspection and isn’t developed enough. It’s hard to get behind this show and equally difficult to get beyond it.

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.

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.

Apple TV+’s ingenious mind-blower of a series returns and it’s just as brilliant as in its first season.

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.

Netflix’s eight-episode black comedy series doesn’t grab you with the audaciousness of “Dead to Me” and it doesn’t always realize the full potential of its characters, but does it ever have one killer cast and an intriguing premise that takes a good twist near the end.

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.

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.

Terrific. .... “Get Millie Black” devotes time to all of its characters’ stories, which heightens its portrayal of why Black is so determined to bring bad people to justice at all costs.

"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.

“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.

It’s been compared to “Game of Thrones,” and while it’s an apt comparison, “Dune: Prophecy” exists in its own universe, and is a strategizing sci-fi headtrip with outstanding effects and production values. I’m certainly hooked.

Of course, anyone with a low tolerance for sugary sweet, sometimes sticky sentimentality would want to suck on a pack of lemons afterwards. For others, this is pure comfort and joy.

The new streaming series starring Eddie Redmayne as an illusive assassin known as the Jackal is not as good as the original 1973 movies but makes for fun viewing.

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.

Author Patrick Radden Keefe’s award-winning dive into the nefarious activities of a handful of IRA rebels as well as the abduction of a 38-year-old Northern Ireland mom from her home in 1972 gets turned into a top-notch, tragic nine-episode FX series.

Prime’s eight-episode thriller from creator Ben Winter takes a creepy premise and makes it violent and watchable, even if the plot does doughnuts around logic. What saves it is that Hodge and Winters allow novelist James Patterson’s well-known character to be more of an anguished soul than the actors who previously portrayed him.

Showrunner Marco Ramirez’s setup bites off a lot to chew on in six episodes, but even when “La Máquina” doesn’t connect, it bobs and weaves with style and fire whenever Luna and Bernal take center stage together.

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.

“Disclaimer” is tremendously acted and directed and designed with painstaking detail.