“Dark Winds” immediately establishes its own tone. ... “Dark Winds” avoids stereotypes, and feels fresh and vibrant.

As Michael Peterson, Colin Firth manages to make us think he’s guilty as hell one minute, and possibly innocent the next. Toni Collette is touching as Kathleen. And while many a series has caused eyes to glaze over when the plot shifts to younger characters, the dynamics among grown children in this extended family are consistently absorbing.

Though not everything works equally well (Howle’s Allen Lafferty is saddled with too many exposition-heavy scenes), “Under the Banner of Heaven” is both frightening and fascinating.

While nobody will mistake “The Offer” for a timeless classic, the series has enough campy energy and gossipy showbiz verve that it keeps you watching, even when it borders on the ridiculous.

Uneven but watchable ... Roberts makes Martha Mitchell compelling, moving from caustic and charming to terrified. ... Penn is also effective, despite the padding and makeup.

The mystery in the first episode contains some nice reverses, and the fact that it's not quite resolved in the end promises that "Jordan" at least intends to deliver something more than the rote 60-minute mystery of less-ambitious cop shows. [24 Sep 2001]

Rather soapy in its one-darned-thing-after-another storytelling, “Sanditon” is engaging, if a bit lightweight.

There’s nothing very radical going on in the new season, at least not yet. ... For now, it’s a treat to wallow in the show’s zippy dialogue, sharp performances, and fabulous production design and costumes.

The series isn’t perfect, but at its best, “Inventing Anna” tells a story that, especially when staying close to real episodes involving Anna and those around her, is entertainingly, jaw-droppingly outrageous.

“The Gilded Age” may not offer penetrating insights into the late 19th century, or the vast gulf between tycoons building extravagant empires and the poverty of those at the bottom of the economic ladder. Fellowes and his collaborators instead seem focused on maintaining a light, satiric touch. It may not be illuminating, but “The Gilded Age” is undeniably entertaining.

“Grand Crew,” like “American Auto,” boasts actors who work well together. ... After a rocky pilot episode, “Grand Crew” has gotten better. The show makes the characters’ Black identity part of its fabric, without anyone stopping to deliver lectures. ... “Grand Crew” keeps the comedy front and center.

Though Katherine’s people skills are sorely lacking, Gasteyer is likable and has a light touch. ... The rest of the cast – including Harriet Dyer, Tye White, and Michael Benjamin Washington – are talented, even if we’re still getting the hang of who they all are, and what their characters do.

“Abbott Elementary” reminds us how entertaining mockumentaries can be. It helps that the show is superbly cast.

Is it a long sit? Definitely. Are there moments when you wish the band would quit noodling around and amusing themselves by playing snippets of rock oldies or the Harry Lime theme from “The Third Man?” Absolutely. Will you feel impatient as you wait for more finished versions of such songs as “Get Back” to emerge? Sure. All that said, Jackson’s film is something special.

Even with its plot holes (everyone seems to greet the abrupt arrival of Jim’s not-previously-mentioned son with a remarkable lack of curiosity), “Dexter: New Blood” is made with care. Solid performances from Hall, Alcott, Carpenter, Jones and Clancy Brown as a town businessman who’s clearly keeping some secrets, pump energy into the series.

“Succession” is the best show on TV. Which makes it a particular pleasure to report that Season 3 lives up to that superlative.

“Dopesick” feels urgent and immediate, and it moves forward with a propulsive energy.

The [first] episode is at its best when it’s most straightforwardly serious. The second 44-minute episode, “Freedom,” feels more like a “Daily Show” outing, with Stewart in sarcastically irreverent mode on the topic of COVID-19, anti-maskers and anti-vaxxer

The show skillfully moves from coming-of-age comedy to drama. This “Wonder Years” also does a fine job of telling the story from the point of view of a Black family, and honors their experiences.

The pilot is uneven, but the cast is talented enough that I’m hoping things come together in future episodes.

Wolk is likable, but so far, the show is so heavy on concept – what would life be like if you made different choices at a crucial moment? – that it skimps on characterization. Will I watch it again? Yes, to see if the show can move beyond its premise, and get into some actually absorbing drama.

A pretty ingenious concept – a scripted series about people involved in making a dance-centered reality show – gives this series an enjoyable spring in its step. Sometimes funny, sometimes dramatic, the show benefits from a well-chosen cast.

At close to eight hours over four parts, the film at times feels overly long, with considerable time and attention is paid to Ali’s boxing matches. The final chapter feels both truncated and sad. ... But overall, the documentary makes abundantly clear why Ali became the most famous man in the world, and why, when he died in 2016, he was widely loved.

If there are fewer laugh-out-loud moments in Season 2, the series goes deeper, and the actors are more than able to rise to the challenge of blending humor and drama.

The Apple TV Plus series is consistently good-natured, and its creators are so obviously infatuated with musicals that even when the tone wobbles, or things get a little preachy, it’s still a breezy good time.

It’s to the credit of White and the wonderfully well-chosen cast that we keep watching, even knowing that these guests are probably not going to find much self-awareness. ... The splendid cast is led by Bartlett, who makes Armond’s growing resentment a volatile partner to his put-a-smile-on-everything professional demeanor. Rothwell emerges as the heart and soul of the series. ... Coolidge is outstanding, as she makes Tanya’s stunted emotional life kind of sympathetic. Britton and Zahn are pitch-perfect as a couple with their own challenges.

A true horror story, possibly the most successful horror story ever made for television, a medium hostile to sustaining belief in the unbelievable. The four-hour miniseries is a bit too long, and the ending doesn't live up to what has gone before, but this Stephen King story is gripping, fascinating, well-acted and superbly produced. [18 Nov 1990, p.5]

The crime story has disturbing echoes of all too many series built around the murder of young women. What keeps “Mare of Easttown” watchable are the terrific actors, who make the most out of their characters, who are drawn with nuance and depth.

“The Black Church” feels a bit rushed toward the end, as Gates tries to address the ongoing horrors of racial violence, police killings of unarmed Black men, and younger activists finding the Church doesn’t reflect their progressive views. But even with its flaws, “The Black Church” flows like a river, carrying viewers forward in the tradition of the glorious music that has been an essential element of worship for centuries.

What “Allen v. Farrow” does most effectively is illustrate how what happened – or didn’t happen – can make us examine our own preconceived notions. As with the HBO documentary, “Leaving Neverland,” which explored allegations of sexual abuse leveled against the late Michael Jackson, “Allen v Farrow” makes you think about who you believe, what you believe, and why.

Latifah’s presence gives it a little something extra. Her charismatic underplaying draws you in, and adds a sense of mystery even when the writing is clunkily obvious. ... “The Equalizer” packs enough action to satisfy its post-Super Bowl audience, most likely. But it’s refreshing to see a few quieter moments of insight, mixed in with the good guys prevailing.

Coming at a time when everything seems stressful and difficult, the new “All Creatures Great and Small” feels as comforting as a cup of tea, as warming as a fleecy blanket on a cold night, and as welcoming as a fire burning indoors while the winter wind blows outside. ... The perfect show for this imperfect moment.

So far, at least, “Call Me Kat” isn’t likely to appeal to people who like to point out that they’ve never seen an episode of “The Big Bang Theory.” But, based on the first four episodes available for preview, “Call Me Kat” is unpretentious, eager to be liked, and easy to take.

“Bridgerton” is more fun, perceptive and affecting than the shorthand description makes it sound. The first episode is a bit slow and unfocused, but after that, the characters emerge as complex, and the show takes flight.

[Lady Diana Spencer (Emma Corrin)'s] transformation from the “Shy Di” young wife of Prince Charles (Josh O’Connor) to the desperately unhappy, but increasingly popular, Princess of Wales gives Season 4 a propulsive energy. Equally riveting are storylines involving Margaret Thatcher (played with clenched-jaw virtuosity by Gillian Anderson). ... If anything, Season 4 of “The Crown” suffers from an overabundance of plotlines that beg for more attention.

While “Moonbase 8” is often more relaxed than laugh-out-loud funny, it’s a step up from Netflix’s “Space Force,” which tried way too hard and wound up being seriously underwhelming.

Laurie’s witty touch helps keeps things afloat, even when “Roadkill” loses velocity because of clumsy plotting and some too-blatant declarations of character flaws.

Even as tension builds, it’s a treat to hear pungent dialogue, revel in artful cinematography and evocative music, and get caught up in a story that’s a bit too sprawling, but makes us wonder what happens next.

Comfortably formulaic.. ... “Away” may not boldly go where no show has gone before, but it reminds us that watching likable people doing their best provides its own simple pleasures.

It’s all dazzling, if sometimes disorienting. After five episodes, it’s hard to know where “Lovecraft Country” is going. But even if it careens off the rails, the show has so much creativity and passion it’s a ride worth taking, wherever it leads.

Though the “Westworld” parallel applies to the affluent creeps-exploiting-the-poor in an amusement park narrative, “Brave New World” is much more rewarding to watch. Attention-getting scenes of good-looking people having orgies aside, “Brave New World” benefits from a dark wit -- which the grimly self-important “Westworld” has always lacked -- and which keeps it watchable.

What makes “Perry Mason” absorbing is how well the show balances the sorrow of the case Mason is investigating – an infant has been kidnapped, and killed – with vintage touches, including a terrific cast.

The delightfully funny, sharp “Sherman’s Showcase Black History Month Spectacular” is a welcome return from writers and stars Bashir Salahuddin and Diallo Riddle.

Lakshmi links her personal experience with the areas that she visits, which makes “Taste the Nation” feel both personal and universal.

The “Parks and Recreation” special made the most of its brisk running time, packing in lovely moments for the characters, and gently delivering the message that we need to take care of our emotional and mental health as we quarantine during these anxious times.

From the lead roles to the ensemble, “Mrs. America” has a fabulous cast, and the writing gives them plenty to work with. Blanchett is totally in command as Schlafly. ... “Mrs. America” is one of the best shows so far this year, and it’s worth seeking out.

After four good, sometimes uneven seasons, "Better Call Saul” returns for Season 5 feeling like it finally knows where it’s going.

In addition to Kravitz’s performance, the most enjoyable elements of “High Fidelity” are the music (good luck getting “Come on Eileen” out of your mind after the first episode), the glamorized sense of place (Brooklyn comes off as a gentrification postcard), and the R-rated but totally entertaining back-and-forth between Rob and her record-store employees, Simon (David H. Holmes) and Cherise (Da’Vine Joy Randolph).

Dawson is a confident lead. ... She’s joined by a beautifully cast group of eccentrics. ... “Briarpatch” isn’t weighty, and thank heavens for that. There’s something to be said for a show that doesn’t take itself too seriously, and that goes down as easy as a frosty drink on a hot afternoon.

The second season effectively builds on some of what happened in Season 1, and lets us get to know Annie, and those around her, better.

[Stewart's] gravity, empathy and dignity ground “Star Trek: Picard,” and make it surprisingly moving. ... If the dialogue sometimes veers into the geeky, for the most part, “Star Trek: Picard” benefits from keeping the characters front and center.

A delight, as it blends the costume drama conventions we’ve come to know and love with bracingly contemporary elements.

The result is both charming and frustrating, entertaining but a tad underbaked. ... Carping aside, Season 3 has its pleasures, which include, as always, Midge’s color-coordinated, accessories-to-die-for ensembles (there’s an apt joke about her ridiculously huge wardrobe); the totally capable cast; awareness of the casual sexism that was an accepted part of life in the late ‘50s and early ‘60s; some snappy writing (“By the way, irregardless is not a word”); vivid production design, from a Vegas casino to Miami; and Luke Kirby’s lively performance as Lenny Bruce.

"Titus" -- the series -- is manic and makes its home on the black side of comedy. It's clearly not for everyone. But it also turns convention on its ear and takes big risks that sometimes produce laugh-out-loud payoffs. [20 March 2000]

["These Old Bones" is] a bit pat, and it’s definitely too long, but Turner is warm and peppery, Goodwin is likable, and by end of it, I admit it -- I was reaching for the tissues. ... More interesting, however, is “Jolene,” which isn’t exactly a folksy, feel-good number.

Colman is exceptional in everything she does, so she’s not afraid to make the Elizabeth of Season 3 look, at times, distressingly irrelevant and frustratingly complacent. ... Like Colman, the new cast members assume their roles with elegance and ease. ... The return of “The Crown,” with its irresistible blend of heightened history and peek-behind-the-brocade-curtain drama, is a gloriously welcome gift, arriving just in time for the holidays.

Among the standouts are “Take Me As I Am, Whoever I Am,” a fine showcase for Anne Hathaway. ... Also good are Tina Fey and John Slattery, who demonstrate instant chemistry despite playing a couple whose marriage has hit a trouble spot. ... Like the best of “Modern Love,” the [first] episode is funny, sweet, and heartfelt without being schmaltzy. At a time when conflict rages across the media, there’s something appealing about pulling up the comforter and falling into “Modern Love.”

“Stumptown” starts off strong, quickly introducing us to characters we want to get to know better, avoiding the usual private investigator clichés, and giving us a setting that’s fresh and brimming with story possibilities.

If “Jazz” was a combination of arts education and appreciation, “Country Music” is the Burns equivalent of a jukebox musical. The wonderful songs just keep coming. ... “Country Music” is at its best when it pauses to revel in the brilliance of greats like Johnny Cash, Parton and Hank Williams.

One of TV’s best shows. In Season 2, “Succession” continues to demonstrate that unlikable characters can make for riveting TV. ... “Succession” is good, nasty fun.

There’s something hugely refreshing about “Sherman’s Showcase,” a show that makes you giggle before you realize, “Hey, that’s pretty smart.”

Thanks to a brisk pace, straightforward storytelling and a terrific central performance by Russell Crowe, “The Loudest Voice” builds up considerable steam, even when we know what’s coming.

With its light touch and affection for its characters’ foibles, “Los Espookys” is refreshing, different, and best, of all, funny.

Though there are a few moments where Kelley gives in to his tendencies for burlesque – as in the characterization of the principal of the elementary school attended by the main characters’ children – in the first three episodes, “Big Little Lies” retains the invigorating mix of dark comedy and drama that made the first season so special. ... Rather than running out of gas in its second season, “Big Little Lies” is more deliciously watchable than ever.

Though there are some appallingly comical notes, the Hulu “Catch-22” is more affecting than the movie, because it doesn’t stoop to easy cynicism. At times, it recalls the TV version of “M*A*S*H,” though “Catch-22” ultimately feels more sad and mournful than humorous, despite moments of skillful caricature.

“The Twilight Zone” has a lot to recommend it, but it’s hard not to feel that if the generally hour-long episodes were cut in half, the show’s overall quality would zoom up several notches.

Abby's is so familiar it makes “Modern Family” look experimental. ... The cast members all click, with an easy chemistry that makes it seem like they’ve been working together for years. ... There’s something to be said for a show that’s made with confidence, that knows what it wants to be, and is about characters who like each other.

Through it all, Ali is a marvel. Even when the dialogue lets him down, Ali imbues Hays with pride, tamped-down anger, sadness and so much humanity he makes True Detective something special.

All in all, The Marvelous Mrs. Maisel is even better in Season 2, rising above a few flat spots to offer bubbly, exuberant entertainment.

The first four episodes do an eerily good job of making us wonder why Heidi can’t seem to recall her time at Homecoming, and just what the heck happened there. The sound design of Homecoming is intriguing, as you’d expect from a series based on a podcast. ... The cast also keeps "Homecoming" watchable, with skillful performances that keep a fine balance between drama and thriller, spiked with moments of weird humor.

Once you start watching the eight episodes, it's hard not to get hooked on solving the mystery, even if the show lays it on a bit thick when it comes to opining about the impact social media has on young people growing up in a world that allows them--or is that forces them?--to construct online personas to broadcast their every move via smart phones, Twitter, Instagram, Snapchat, YouTube and endless selfies.

Though many aspects of Williams’ life were sad, for two hours, Robin Williams: Come Inside My Mind brings him back to life, showcasing the brilliance, impact, and vulnerability that made Williams special, and that make his death still feel like such a loss.

Sharp Objects may not be compulsively watchable, but it’s much better than the “Gone Girl” movie, with its own sweaty, sensual, mesmerizing atmosphere.

The female wrestlers are a splendid ensemble, both in their silly show, and in GLOW. But they’re always individuals. ... The 10 episodes in GLOW Season 2 go by so fast, they’ll leave you wanting more.

Though “Yellowstone,” at least in the early going, has its flaws--please make scenes of people having sex standing up against a wall go away forever--it’s a solid piece of work.

Pose is way too entertaining to be considered an example of TV offering a diversity lesson.

The first two episodes of the new season highlight what makes Claws special, and at the same time, wonderfully unpretentious. Here's a show that makes the most of Nash, who is always great to watch.

The performances are generally fine, if a bit lacking in star quality.

Lonergan's gift for empathizing with characters while clearly seeing their flaws fills every scene with rich, unsentimental emotion. Lonergan's work is matched by director Hettie MacDonald, who, rather than leaning on handsome production design and costumes, makes the material feel immediate, and the characters' choices full of risk. ... The cast more than rises to the occasion.

That willingness to embrace comedy and tragedy makes Barry something special. Hader, who also directed and co-wrote several episodes, is exceptionally good, making us care about Barry while also being horrified at what he's capable of. The cast is superb.

It's a surprise that Roseanne manages to recreate what was enjoyable about it the first time around while also feeling very much of the moment. Anything can happen, obviously, but so far, at least, the Conners are darned good company.

Instead of being heavily self-important, The Looming Tower is swift and urgent, with an outstanding cast and zingy writing.

Like its main characters, Good Girls, goes to unexpected places. Here’s hoping NBC viewers know a good, original show when they see it.

Everything Sucks! isn’t likely to become a classic, but with its binge-friendly short episodes, it may be perfect for viewers who want something that won’t demand a ton of time.

Overall, the first four episodes of the Portlandia final season indicate that Armisen, Brownstein and the rest of the team intend to keep things bright as they prepare to turn out the lights.

The show keeps a sense of humor and refreshing lightness--as usual--even when disaster looms.

The show drops in lovely little moments, funny, melancholy and insightful.

Utterly fascinating. ... The Crown is a showcase for keen character observation and inspired acting, not only from Foy. As Philip, Smith is able to show more dimensions of a man who's hard to like, but not easy to outright condemn.

Even when scenes border on getting mushy, as in the final moments of Stranger Things 2, the sentiment feels earned, not plastered on. Scary, witty and sweet, Stranger Things 2 just might give sequels a good name.

Rene Balcer's writing and Lesli Linka Glatter's direction keep things moving, and if these two episodes don't promise anything terribly deep, they're packed with enough good performances and details (an alibi conversation revolving around a supposed meeting at the Beverly Hills Cheesecake Factory, for instance) to make us curious about what comes next.

The Vietnam War is both the most powerful film Burns has produced, and the most despairing. ... By the end of the fascinating, sometimes wrenchingly hard to watch 18 hours, it's impossible to regard the Vietnam War as anything other than an agonizing failure, one that taught Americans to be cynical about a government that lied to them, sent Americans off to risk their lives, and made one costly bad decision after another.

The Deuce is probably the best new show of the 2017 fall TV season, with superb acting, punchy writing, expert production design, great music, and a storytelling flair that keeps you watching. That said, The Deuce may also make you feel a bit queasy.

At its best, The Last Tycoon is an absorbing trip back to Hollywood's not-so-Golden Age. And even when it slips, it's still pretty good melodrama, with desperate characters, unexpected deaths and gorgeous people pretending they're keeping it together even when they're not.

The history is mostly a familiar overview, but the straightforward narration, well delivered by actor Liev Schreiber, covers the big picture and some smaller, but intriguing, details.

Even when The Defiant Ones pauses to reflect on grim reality and troubled times, its tone is generally laudatory. We may wish for more depth and perspective. But then along comes another vintage clip of U2 in its prime, or Snoop Dogg's laid-back assurance, or a young Springsteen and the E Street Band, and the music takes over, and takes us away.

Though Chibnall doesn't quite stick the landing in the last of the eight episodes--when we learn the truth about Trish's assault, it feels a bit too much like an "Author's Message" sign should be flashing--any fan of intelligent TV should watch Broadchurch Season 3.

GLOW is both blessedly original and delightfully nostalgic. ... It's a superb showcase for an ensemble cast that couldn't be better. Brie, in particular, is a revelation.

By this point, the actors are comfortably in their element. Spacey is as assured as ever, even if Frank's occasional addresses to the camera seem to come out of nowhere. Wright again wears a cool mask to hide what Claire is really thinking as she deals with assorted crises while looking impeccable in her tailored suits. Less successful--again--are the portrayals of writers and journalists.