“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.

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

The snappy screenplay, acute observations on what it is like to be an Asian American teen in a mostly white school and martial arts action — Berkeley’s Daniel Wu has a great time as the Monkey King — contribute in making this a fast-paced, addictive show.

As terrific they [Rose Byrne and Seth Rogen] are, the script and the direction match their talents and challenge them. Just be prepared to binge all three episodes and be eagerly await more to come.

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.

The first episode alone is a grabber, defying our every expectation. Can’t say how. Throughout, the storytelling and world-building maintain the highest standards. And that final episode promises there’s even more yet to come. If you love “Dune,” this is a gimme.

Without giving too much away, this “Bridgerton” chapter mines richer, riskier material, a direction that series creator Shonda Rimes navigates with skill, particularly her writing on the final episode.

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.

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.

At seven episodes, the HBO Max series overstays its own welcome but its two aces in the hole are Elizabeth Olsen as the to-the-point Montgomery, who has it all but desires to spice up her life, and Tom Pelphrey as flashy attorney/church member Don Crowder.

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.

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.

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.

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.

All of it’s handled well and Hahn is terrific, resulting in “Things” being one of Reese Witherspoon’s best Hello Sunshine productions yet.

It didn’t need to be 10 episodes. A tighter framework would have turned up the heat and made it less of a slow burner. But Chau and Basso make it worthwhile.

This edgy and sensual period piece slowly reveals what led to that pile of bloodied corpses.

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

It’s a spellbinding horror story about our fascination with celebrities and the loneliness and isolation many feel when they are stuck on the outside of a star’s inner circle. ... Expect Fishback to be collecting awards for her take-no-prisoners performance.

True, “Extrapolations” has its heart in the right place but its pedantic volume rises just like the sea level and all but overwhelms the characters and the drama itself, spinning the whole enterprise sadly right off its storytelling axis.

While the show’s languid pace in the first few episodes might test your patience, prepare to get drawn in as this hot-potato case reflects the tenor and the racism of the times, and is far more gnarly than originally thought.

It’s awfully tempting to sum up this addictive, funny and scary Irish six-episode series as “Scream” set on a cruise liner. But that sells it short. ... The plot and the execution make you want to sail right through all episodes.

“Daisy Jones” features exceptional performances throughout, but there are a few standouts — a never-been-better Claflin, a mercurial Keough and an entrancing Morrone. It all makes for one Amazon Prime’s best series yet. But heed these words of advice: Episode 10 will wreck you when it drops that mic.

Knockout. ... A shocking opening sequence establishes an unsettling tone that grabs you from the start, pushing you to gobble up future episodes as if they were leftover salt-and-vinegar potato chips. Christoph Waltz is the show’s ace up its sleeve. He gives his all to create one of the most distinctive villains to grace any series.

Billy Crudup does a lot of heavy lifting in this, but it’s a wasted effort; I didn’t buy into much of “Hello Tomorrow!” except I was sold on its knockout production details.

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

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.