Despite some shortcomings, Hemingway & Gellhorn rates as time and money well-spent.

Solid writing and even sharper delivery (all without an intrusive laugh track) make this one of the season’s upper tier freshman comedies.

The main characters also aren’t clicking on all cylinders yet, save for the dastardly Varga and his bitingly delicious way of putting things. ... This latest Fargo likely will be quite a trip, with its principal creative force, Noah Hawley, not to be discounted in terms of coming through in the clutch.

Although her time on-screen is limited, Cruz makes some strong impressions as the ever-demanding Donatella Versace.

This is a concept that so far doesn’t lack for execution. Last Man On Earth has no chance at all to be a blockbuster in league with Fox’s new Empire. But it’s another distinctive example of what the Big Four broadcast networks should dare and do.

Not everything meshes perfectly. But far more often than not, House of Cards remains an absorbing tale of high-level government dysfunction populated by double-dealers who hold their aces under the table.

Riveting at the start and somewhat less so as time marches on. Crowe’s portrayal of Ailes of course is the major drawing card, and he is nothing if not fully immersed. The characters around him can’t help but pale in comparison, but it would help if some of the supporting roles were more vividly acted.

Fox seems to be on the right track, though, with a lead character who has ample potential to gawkily bloom and grow.

The Americans remains one of television’s very best drama series. Still, this season so far is not up to the fly-high level of the first two.

The Detour isn’t always in full command of its absurdities, but the killer lines keep coming.

A surprisingly assured supernatural saga with at least a little something for everyone, plus non-stop eye candy for one and all.

The series repeatedly bounces around, but coherently so. And in the early going at least, Flynn’s performance is the more interesting and affecting while also consuming considerably more screen time.

Time of Death breathes new life into a handful who chose otherwise. And with this series, they also chose pretty wisely.

A reasonably fond look at some of country music’s most celebrated and talented self-destructive forces, most of them now dead.

After a ridiculous opening bit--in which Maya recklessly drives the entire family to a restaurant whose 50 percent off coupon will expire in three minutes--both Driver and the show settle into a solid and for the most part amusing groove.

Mr. Mercedes has yet to fire on all cylinders in the early stages of Season Two. But a nice slow simmer is well-suited to Gleeson’s talents as an actor who doesn’t mind taking his time in further molding a character with a gruff exterior and an old, buttered soul. It’s a beauty of a savory performance, with the bigger chills still coming. All in due time.

Angie Tribeca, starring Rashida Jones (Parks and Recreation) in the title role, is hysterical at times, amusing in others and never far from a sight gag or throwaway line.

Throughout these first five episodes, Westworld continues to have a mind-bending mind of its own, sometimes to the point of being close to nonsensical. It’s also a non-stop killing field, and that gets to be off-putting after a while. But Westworld also remains picturesque, challenging and undeniably distinct.

A&E's Bates Motel is both mesmerizing and sometimes absurd in its rewind to Norman Bates (Freddie Highmore) as a repressed 17-year-old.

Highmore plays his lead role to near-perfection amid all the considerable medical jargon and jockeying for position among his supposedly more enlightened colleagues. The Good Doctor engagingly drops Dr. Shaun in their midst as both a lamb and a lion with a muted roar. The story possibilities are readily apparent on a number of fronts in the best broadcast network medical drama since Hugh Laurie contrastingly bruised his way through House.

Arkin is a cinch Emmy nominee for his contributions and Douglas may well find himself along for that ride. The scenes with the acting class students for the most part don’t work as well. ... Viewers of a certain age may well respond with knowing head nods to the age-old predicaments that Sandy and Norman find themselves in. But the series might also have some traction with advertiser-prized 18-to-49-year-olds.

Livingston excels as the point man, making Sam Loudermilk both his own worst enemy and a guy who would be damned interesting to be around. This is one of the ongoing TV season’s better new comedies.

ABC has far more family-driven sitcoms than any of its rivals. Splitting Up Together shows that the network is still finding new ways to make them work just fine.

The History network, in on-air partnership with Lifetime and A&E, has brought forth a Roots that stands tall on its own, but without surpassing the production that once gripped a nation and should still be seen by viewers of all ages.

This is a firmly grounded and compelling drama that’s both ripe for lampooning on Saturday Night Life and rich in story possibilities. Its us-against-them template holds solid over the first five episodes.

It’s a solidly told whodunit with a payoff that’s worth your investment.

I Love Dick very much shows as well as tells. ... A series that is completely willing to offend sensibilities while also engaging them.

It clicks, crackles and arrests attention with a blend of compromised cops, assorted criminals and homier family values.