The Old Man seems to be shooting for something tense and riveting like Homeland or The Americans, but it doesn’t deliver the depth or nuance needed to bring us along for the ride.

Peacock’s The Day of the Jackal is a top-notch thriller, with dazzling action sequences and smart storytelling.

The Mighty Ducks: Game Changers is a feel-good show that dutifully honors the past, doesn’t reinvent the wheel, and delivers the comforting optimism we’re all craving right now.

While it’s not entirely successful, the directing team’s approach is certainly skillful, and McMillions is definitely a fun watch.

Michael Cudlitz has a few nice moments as gruff but tenderhearted dad Mike, but ultimately, the show isn’t funny or heartwarming enough to overcome how familiar it feels.

Amazon’s Lord of the Rings series The Rings of Power is worth the wait: a grandly ambitious epic with stunning visuals.

It’s an instantly gripping premise (previously mined by Battlestar Galactica), but a tricky one to pull off, and Designated Survivor stumbles a bit in the execution.

The fatal flaw here may actually be the hour-long format: Get Shorty could maybe work as a rapid-fire half-hour comedy, but at 60 minutes each, the episodes feel bloated and sluggish as they drag their feet getting to the good stuff.

If you stick with the show, a sorta Law & Order: Forensic Linguistics, you’ll find that, OK, at times, it’s a little heavy-handed. ... Bettany is so compelling, in fact, that you’ll wish we got more of him sooner. Ditto Jane Lynch, who does fine, subtle work as Attorney General Janet Reno.

Garland’s singular vision is in full effect — Devs contains some of the most stunning imagery I’ve seen on TV in recent years — but unfortunately, the story gets stuck at the starting gate, bogged down by dense tech jargon and a frustratingly cryptic conspiracy plot.

Though it sometimes clings a little too tightly to sensibilities of seasons past, "Stranger Things" Season 5A is a rewarding, tightly paced showing that's worth the extra-long wait.

The teen dynamics are a little familiar at times, but the revival dares to tackle class disparity and white privilege while playfully mocking the original’s consequence-free low stakes. It still has heartfelt inspirational speeches… but it makes fun of them at the same time.

The Sinner does have a nicely lyrical visual style: It’s shot with a keen eye for detail, with an appropriately gloomy, unsettling musical score. But strangely, the more we learn about Cora’s complicated past, the less interesting her story becomes. The answers we do get are either too pat--the flashbacks to her childhood, with a young Cora being tormented by her fanatically religious mother, are painfully overwrought-- or they’re simply erased by the latest plot twists.

It never goes as hard or gets as dark as, say, BoJack did… but that’s not necessarily a bad thing, either. The lighter touch makes it an easier watch, and it does deliver more laughs per minute than most anything out there these days. A TV comedy that’s actually funny — what will they think of next?

Vinyl may hit one or two questionable notes in its first five episodes, but fueled by a beautifully realized sense of place and Cannavale’s certain-to-be-Emmy-nominated performance, it’s definitely worth a spin.

They need a strong villain to play off of, though, and generically mean rich girl Alexandra Cabot (Camille Hyde) doesn’t quite cut it. I found myself wishing for more screentime for The Other Two‘s Heléne York, who plays Katy’s bitchy coworker Amanda. She’s sharp enough to provide a worthy foil for Katy, at least… but in the world of Katy Keene, it seems, any and all sharp edges have been rounded off to a safe dullness.

It’s an incredibly entertaining dual performance that carries Living With Yourself… even when the show’s initial spark begins to fade.

The final product is something that stands as well on its own as it does as a continuation of Ron Howard’s classic film.

The hour is stylishly directed by Adam Wingard (V/H/S). But there just isn’t much here that we--or at least I--haven’t seen before.

I do appreciate the effort to highlight some of the stories the film didn’t tell. But the fun is conspicuously missing, and the muddled and labored end result is a far cry from the movie that inspired it.

My Next Guest Needs No Introduction, a new talk show for Netflix that puts the emphasis back on “talk.” ... The conversation with Obama, while mostly dense, was not without moments of levity.

Gaslit is a wickedly entertaining and irreverent look at an infamous slice of American history that none of these characters are particularly proud to be a part of.

Peacemaker, if you can stomach the title character’s lunkheaded views (and temporarily forgive if not forget his actions in The Suicide Squad), is a lot of James Gunn fun.

There are also moments you’ll find yourself wishing Goldberg and Katims had trimmed away some of the less vital elements of their dense tale and cleared a path toward higher stakes and greater suspense. ... Still, The Path benefits greatly from the way it takes us into a murky world and repeatedly makes us question how we feel about its protagonists.

There are a few genuinely poignant moments scattered through Disclaimer’s run, but taken as a whole, it’s a rough watch, putting its characters through the wringer and wallowing in overheated melodrama with lots of wailing and crying.

Left with mostly just his voice to act with, Pascal gives Mando some hints of snarkiness, if not humor; by and large, he comes off as a business-first ballbuster. (And truth be told, no one wants a quippy Mandalorian.) Weathers and Herzog fit comfortably into this world, in their brief intros, and it’d be great to see more of Nolte’s Kuiil.

By the time Episode 5 rolls around, with the great Parker Posey guest-starring as a kooky artist looking to unload her cheating husband’s mega valuable record collection, High Fidelity has established a funky, unassuming charm all its own. It’s kind of like your favorite local dive bar: nothing too flashy, but a reliable combination of fun people, a killer jukebox and good vibes.

In short, unless you’re for some reason dying for a reinvention of the wheel, you’re gonna love this. It’s suspenseful, exciting, funny and scary as hell.