The show isn’t bad, but it’s definitely familiar, with a cast of quirky characters who constitute a likable, if occasionally kooky workplace family. ... But these first 10 half-hour episodes are less interesting than “The Last Blockbuster,” Taylor Morden and Zeke Kamm’s documentary about how the Bend outlet came to be the last Blockbuster in America.

“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.

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

The new season has its strengths – Episode 7 is a high point, for example, even at its lengthy running time. But other moments drag, and Hopper’s incarceration in Russia feels particularly endless.

So unsatisfying. ... The two [Theo James and Rose Leslie] have solid chemistry, and are charismatic. ... But based on these six episodes, I’d much rather watch Leslie and James using their talents elsewhere.

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 documentary does a fine job of explaining why Franklin was such a consequential figure. Unfortunately, “Benjamin Franklin” doesn’t really bring this founding father to life. ... The life of Franklin doesn’t need to be turned into “Hamilton,” but some artistic interpretation of the man might help fill out a portrait that seems accurate, but dry.

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.

One of the characters says it seems like they’re in an episode of “Lost,” and unfortunately, “La Brea” is the latest TV show to borrow from the “Lost” playbook.

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.

This Fox effort at least gets points for its novel, wackadoodle premise.

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.

With only three episodes to judge, “American Rust” so far, at least, doesn’t seem totally successful at transcending stereotypes, and creating characters who come across as individuals who are caught up in specific situations. As was the case with “Mare of Easttown,” “American Rust” boasts a skilled cast, who help bring dimension to their characters.

Though it’s not up to the level of “The People v. O.J. Simpson,” “Impeachment: American Crime Story” does gain momentum as it goes along. The cast is certainly eye-catching. ... Ultimately, though, “Impeachment: American Crime Story” raises more issues than it addresses.

“Nine Perfect Strangers” is an unsatisfying stew of mystery and melodrama, with a few misplaced moments of sort-of comedy.

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.

With the exception of a few highlights, mostly involving returning hosts Tina Fey and Amy Poehler’s opening monologue, and touching speeches by Taylor Simone Ledward, accepting a best actor in a motion picture drama award for her late husband, Chadwick Boseman, and Lee Isaac Chung (and his daughter), accepting the best foreign-language film prize for “Minari,” Sunday’s Golden Globe Awards show was a mess.

“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.

Whether rising to consult a dictionary, delivering a full-throated rendering of the all-star swear word, or simply sending up the mock seriousness of the enterprise with wry humor, Cage’s appearances are genuine highlights. If only the rest of the series were as consistent.

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.

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.

[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.

[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.

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.

Unfortunately, “Ratched” turns out to be a bloody bore. The eight-episode series is less a character study than it is a horror show, where the gore spills all over nifty period costumes and fancy production design.

Sharp though some of the writing is, “Coastal Elites” never challenges the moral superiority of its characters, and so they mostly come off as predictable, making predictable points.

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.

About halfway through the 10 episodes, “Space Force” starts to get better, and settle down a bit, as the multiple characters begin to bounce off each other, and we get more of a sense of the show as a workplace comedy.

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.

The early episodes of “Hollywood” are an entertaining mix of earnest inclusiveness and dishy wallow in showbiz lore. But, like those Murphy-produced TV series that went on too long, by the end, “Hollywood” is floating on so many alt-history good vibrations that it becomes less of a celebration, and more of a lecture.

The eight-part limited series does a good job of making us feel the parents’ uncertainty about whether Jacob is innocent or guilty. But that suspense is made to carry too much of the load for the relaxed pace of the show, which takes its own sweet time drawing us in.

The show’s half-hearted effort to mock dating show clichés doesn’t blend too well with its half-hearted purpose, to supposedly help the good-looking narcissists achieve personal growth and build deeper relationships. ... A fairly witless excursion, with a batch of characters who seem like they were created in a reality show writers’ room.

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.

There are few voices included who are critical of its subject. “Hillary” is a generally flattering portrait, which makes it less grueling to watch than cacophonous cable news shows, but also muffles its impact.

Garland’s vision is in the forefront here, and the result is a limited series with a frosty emotional tone, and a story heavy on cutting-edge techno-speak, but skimpy when it comes to characterization.

“Hunters” is a series that feels like it’s finding its way, as it explores explosive territory with a tone that lurches from darkly comic to grimly violent.

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.

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.

What Clerks doesn't have is a lot of laughs. In fact, the whole concept seems tired and stale. Much of the satire is dated [a "People's Court" parody?], and the jokes and situations look like recycled stuff from old movies and long-canceled series....In other words, unoriginal. [31 May 2000]

The cast is skilled. ... But “Truth Be Told” suffers from a wobbly tone, and seems to be several shows – family drama, prison drama, would-be “Serial” true-crime tale, etc. -- in one. ... “Truth Be Told” would have worked better by focusing on Poppy’s family, and losing the trendy, true-crime plot.

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]

Despite a distinguished voice cast, the new animated comedy is hurt by uneven and unsure writing. [9 March 2000]

This is a sitcom so generic it should have a bar code instead of a title. You get the feeling that Ozzie Nelson could pop up and not look out of place. [23 March 2000]

It's aimless, stereotypical and runs out of juice pretty fast. [23 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.

After two episodes of Angels, the situation looks grave. Pulse is weak and thready, blood pressure already dropping. [15 Jan 2000]

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.

“Watchmen” suffers from the sense that anything can happen at any time, so nothing really matters. ... As with “The Leftovers,” the talented cast members do their best to tie together the various portions of the unfocused storyline.

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.

Despite the abilities of the cast, McBride’s touch is too heavy, and before long, we yearn for some heavenly force to smite Jesse, just to get him to stop cursing, insulting everyone and strutting around in total blowhard fashion. ... It’s not clear what exactly it is trying to do. And it’s not funny enough to make us want to keep watching.

The show isn’t great, exactly. But it’s also a bit smarter than we might have expected. In the early going at least, “BH90210” is campy, but self-aware.

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.