Loyal members of the "Evil Dead" cult won't be disappointed by "Ash vs Evil Dead," which kicks off with a romper stomper of an episode.

While Going Clear is unapologetically one-sided in its dim view of Scientology, the issues it raises--what is a religion? What motivates people to follow a faith, even when it comes under attack?--will make you think about the film long after it's over.

True Detective Season 2 may not be subtle ("this is my least favorite life," a performer mournfully sings at the Vinci bar.) But the actors provide enough light to make it worth navigating the gloom.

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.

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

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

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.

Overall, the TV-movie has the satisfying feel of a traditional historical saga. What makes it more than a well-told story, however, is how Saints & Strangers handles the perspective of the Native American tribes, who must decide whether to wipe out the settlers, or accommodate them.

All the Way shows so much of the backroom dealings, influence-peddling and strategic threats that typified Johnson's approach that it can be a bit plodding and talky. ... Fortunately, the events are so momentous, and the cast so outstanding, they keep the stakes high.

Poldark is juicy, romantic, melodramatic storytelling at its most enjoyable.

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.

Aside from a few off-key moments, based on the instantly compelling performances, and the novelty of the his-and-hers storytelling, The Affair has an appeal that may be hard to resist.

It's totally far-fetched, but the roles are so well-cast and the 1960s texture so evocatively re-created (Jake goes from starry-eyed nostalgia to shock when he sees segregated bathroom signs) that 11.22.63 makes the trip back in time both suspenseful and enjoyable.

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.

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

With all this world-building going on, Legion doesn't, at least in these early episodes, make the most of Hawley's talent for letting his characters express themselves in distinctive, individual voices. And the horror of David's situation hardly lends itself to Hawley's characteristic wit. But those are small problems, considering that Legion is a trippy explosion of creativity.

[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.

Season 2 improves on Season 1 by broadening the story to give us the points of view of the wronged spouses, Noah's wife, Helen (Maura Tierney,) and Alison's husband, Cole (Joshua Jackson.) Tierney and Jackson are both so good, they left us wanting more in Season 1, and it's great to see their characters do some well-justified venting.

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

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

Based on the first three episodes, Dunham is ready to end her story with satirical precision and self-aware compassion.

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.

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).

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.

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

“Sometimes, I’m not sure why I make the choices I do,” Fielder says. Viewers may not know either, but “The Rehearsal” is unique in making us wonder. Whether you laugh, or stare in amazement, “The Rehearsal” will definitely keep you watching.

Severance gets the second half of Season 7 off to a brisk start.

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

The good news is that Ballers has its own energy, humor and terrific performances, notably by Johnson.

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.

The Returned has the nightmarish quality of a ghost story, but could benefit from some of Norma Bates' frenzied energy.

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.

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.

Season 3 gets off to a busy, skin-crawling start.

By the time Corden sang a wry little tune thanking us for watching, he seemed as comforting as a cup of tea and a biscuit. He may not be boldly going where no late-night host has gone before, but based on first impressions, Corden looks like he'll be making himself at home in no time.

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.

“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.

The cast is stocked with solid actors--Leoni, Tim Daly as McCord's husband, Zeljko Ivanek as the President's chief of staff, Bebe Neuwirth as McCord's chief of staff--and the writing is fairly sharp, if a bit pretentious.

A tedious flash-forward, flashback structure involving the students doing something that looks very, very bad in the woods hints that "Scandal"-style plot craziness may be right around the corner. [But] It's worth tuning in to see Davis display her versatility in the kind of multi-dimensional, non-stereotypical lead role she hasn't had an opportunity to play in movies.

Characters behave pretty much exactly as we've come to expect; plush décor and candlelit dinner parties dazzle the eye; and the actors dive into their scenes with the gusto of carnivores dining at a top-dollar steakhouse.

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.

It's no "Downton Abbey" (especially during tedious scenes involving the palace staff), but Victoria has enough glittering chandeliers, glowing candlelight, luxurious furnishings, sumptuous gowns and dazzling jewels to make it undemanding, cozy viewing.

The two Season 3 episodes made available to critics feature both familiar strengths and weaknesses of the series so far.

It's a pleasant enough blend of travelogue and gentle humor.

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.

The pilot has a propulsive pop energy, and melodramatic swagger.

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.

Though the '60s music is sometimes laid on with a heavy hand, Aquarius benefits from its stylish look, and a moody atmosphere that doesn't become oppressive, thanks to Duchovny's mordant wit. It's an unusual summer season offering, sometimes unsettling, but worth checking out.

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.

Odenkirk is a gifted comic actor, and the sadness in his eyes hints that he can fill in more dimensions to Jimmy McGill as time goes on. But the first two episodes of Better Call Saul take their own sweet time setting things up.

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.

In the first few episodes made available for preview, not every bit worked--it may always be too soon for jokes about Hitler, for example. But the tone never gets mean.

Even with its first-night caution issues, his inaugural Tonight Show makes me think that Fallon is the perfect choice to take over a TV institution, giving it both tender loving care and a much-needed shake-up.

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.

As always, you can't judge a late-night host by a first show. But Meyers' debut indicates that his blend of intelligence and goofy humor will be a welcome addition to the crowded late-night neighborhood.

Based on the first two episodes available for screening, Crisis is more promising than other recent network attempts to create a series that tells an ongoing story.

The fact that the show remains watchable, if challenging, is a testament to Perrotta and Lindelof's convincing portrait of how our society might respond to such an event. And Theroux's performance is a much-needed anchor to humanity.

["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.

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.

Whether the Preacher series creative team will keep all its elements in balance or giddily drive off a cliff, is anybody's guess. But, judging from the early episodes, Preacher is a wild ride that will be worth hanging on for.

Though Riverdale works a bit too hard to shake off the wholesomely corny elements of vintage Archie comics, the show is a savvy teen melodrama, with high school characters whose wised-up-beyond-their-years attitudes may remind us of the early days of "Buffy the Vampire Slayer," "Glee" and the movie, "Mean Girls."

Lewis and Philippe have enough chemistry that his underplaying and her overplaying are a match made in whodunnit heaven. Secrets and Lies likely won't be earning any Emmy nominations, but it promises to be a juicy foray into melodramatic escapism, and sometimes, that's just what the TV-viewing evening calls for.

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

House of Cards has its own distinct, if shallow, pleasures, including Spacey, who just gets better and better as Frank.... Wright is Spacey's equal, and in Season 4, Claire is more stony and stoic than ever.

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.

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.

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.

The satire isn't especially sharp, but the cast members throw themselves into the grotesque goings-on with full-on commitment.

In a gimmicky touch, it's narrated by a boy in a coma. But despite the easy grabs at our heartstrings–-who in their right mind isn't rooting for young people to get well?–-the pilot benefits from the vivid, likable performances of the cast.

Fortunately, with its nutty playfulness, 7 Days in Hell is 45 minutes of fast-moving, goofy fun.

He was overeager, a tad hyper, and trying to do too many things at once. But after a bumpy start, Colbert seemed to gain in confidence as the show wore on.

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.

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.

Homeland shows signs of coming back to creative life.

Those are a lot of threads to knit together, and some feel looser than others.... But there are enough chilling scenes to make The Man in the High Castle genuinely disturbing.

With a tone that swings between action and slapstick comedy, The Librarians isn't likely to show up on any end of 2014 Top 10 lists. But its high energy and good cheer are a comfortable fit for the holiday season.

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 would be more exciting if it took more chances. It's an earnest effort, and reminds us that all that compelling stories don't need to be told with an English accent.

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

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

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.

Season 2 of The Leftovers has its maddening moments, but I never knew what was coming next. And, in a crowded TV world, that anything-might-happen quality is enough to keep me interested. At least for a while.

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.

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.

“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.

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]

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.

There are so many plot twists coming at us so quickly, without much development, that at times, it's hard to know who's seeking what, why they want it, and wait, who was that character again? On the plus side, the cast has solid chemistry.... It also helps that there are enough amusing one-liners to keep things skipping along, even when the storytelling goes off course.

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

It was two shows in one. For the most part, the 77th Annual Golden Globe Awards on NBC was a better-than-average awards show, with surprise winners, humorous touches and some heartfelt speeches. But then there was that other show, the one with Ricky Gervais as the supposed host of the festivities. ... [Gervais] came off like the guy sitting at the back of the auditorium who’s had one too many, and keeps yelling out unfunny, sarcastic remarks.

Based on the first four episodes available for preview, “Your Honor” unfortunately doesn’t match the tension of that fateful early sequence. But the 10-episode series does serve up tasty performances, knotty ethical issues, attempts to explore racial injustice in the legal system, crime story theatrics and nagging questions about why its characters do what they do.

The Strain gets off to a busy, icky, unpretentious start, mixing the vigor of a '50s Grade-B horror movie with a convoluted mythology about an ancient virus that turns victims into vampires.

Though the series gets better near the end, Chilling Adventures of Sabrina takes too long to get there, clocking in at a total of 10 roughly one-hour episodes. Characters boringly blather on about the Dark Lord, Father Blackwood (Richard Coyle), the Church of Night, the witches who died back in 1692, the forbidden love of Sabrina’s now-dead parents, and so many coven rules and regulations it sounds like the most restrictive condo board imaginable.

[The actors are] all perfectly fine, and Adams and McDorman are at times, better than fine. The rest of the cast is solid, with good work from actresses who play the all-too-often long-suffering wives of the Mercury Seven. ... “The Right Stuff” feels like a band playing the hits we’ve already heard way too many times already.

A Very Murray Christmas is an odd concoction, flavored by holiday blues, but topped by a coating of sparkly tinsel.

Significant Mother isn't trying to be sophisticated, cutting-edge comedy. With its nonstop wisecracks about hooking up, body parts, and pop culture references (a raunchy "Downton Abbey" joke, for example), Significant Mother feels like a Millennial version of "Three's Company."

The first episode is dragged down by more conspiracy blather, interminable voiceover and way too many apocalyptic predictions of doom. And there are a few too many references to Donald Trump's presidency and friction with the FBI, elements that feel dated even as we watch. But Anderson and Duchovny remain one of the television's best-ever teams.