Scream is a deferential adaptation well aware of its source material's strengths. It uses them to its advantage, fully embracing them for a result that, while never quite as salacious as the first film, is a more than worthy entry into Scream lore.

Not only does it promise scares, but it looks good, moves quickly, and uses effects well and wisely. In a market that's rapidly growing, Constantine does a commendable job distinguishing itself.

Where Stewart is the show's greatest strength, there is very little else to grasp onto. The situations are good for a few awkward giggles, but ultimately Blunt Talk misses the mark on the bigger picture.

The Case of: JonBenét Ramsey takes a while to find its footing, but when it does, it's undeniably engaging, especially for true-crime enthusiast.

Fox aside, the show boasts some strong performances which should hold it up through the weaker material, for a time at least.

This may not be the strongest first showing, but if it finds its rhythm soon, playing off of its existing strengths and shedding its weaknesses, this will be a compelling hour.

Mulaney often feels inauthentic and forced. However, one gets a feeling that like his smart stand-up material, Mulaney is aware of the awkwardness of his chosen format and is using it to his advantage. [Sep/Oct 2014, p.83]

A German-language spy thriller cut from the same cloth as The Americans.

Despite the disappearance of his top lip when smiling, newcomer Wolk employs the same conman charm on the viewer. Rooting for both the wife and the girlfriend--maybe a little bit more for the latter, Lone Star has the makings for a sudsy tune-in.

The fourth season of the 1950s-into-1960s period comedy The Marvelous Mrs. Maisel gets off to a shaky start.

The New Look lags and drags. It takes far too long to get its points across. When it finally does, it does so with not enough conviction. Instead of focusing on the fashion, which is in the title (The New Look was the name of Dior’s first collection when he set up his own house), the 10-episode series keeps forgetting what it’s about and reverts to being a Holocaust story.

Palm Royale is so gorgeous to look at, the story is almost secondary. Funny and frothy, Palm Royale is an indulgent watch not unlike gorging on colorful and beautifully decorated pastries.

There's enough substance to the novel that what's left in the miniseries ends up feeling less like a truly successful adaptation and more like a sketch of a great one.

There is enough going on in The Slap without the addition of the narration, which is reminiscent of the voice over on Pushing Daisies and sounds like it's describing a comedy. Get rid of that smug, knowing narrator, The Slap can speak for itself.

The entire thing could have been told in a tight and easy to grasp two hours and could have used a lot more grit and grime to ground Camden in authenticity. Still, there is plenty to learn from Camden, albeit in a CliffsNotes version.

The Rayburns are, to a tee, well-trod stereotypes. Their dialogue is often as two-dimensional as they are, and when it veers more toward the melo than the drama, Bloodline can get down right corny.

While the series has kinks to work out, the prospect of another season (or more) detailing what the members did afterwards would be fascinating to watch and perhaps less cartoon-ish than aspects of Season One that have been documented ad nauseam.

The warming to the characters of young Einstein's universe is slow, yet once he meets and falls in love with fellow physics student Mileva Maric (Samantha Colley) during his time at Zürich Polytechnic in Switzerland, intrigue begins to mount.

The Powells' snarky dialogue can be a bit annoying, but executive producer Greg Berlanti (Brothers & Sisters) cares for the family dynamics. Even the special effects are commendable. Some of the acting and line delivery can be a bit hokey, but that comes with the comic book-esque material.

The first few episodes of Season Three are overly saccharine. ... Thankfully, this cloying approach fades away relatively soon and Trying reverts to its winning and likeable personality.

For fans craving the next dark, disturbing weekly watch in the spirit of The Walking Dead, The Strain will prove too cheeky and eye-roll inducing. Those that appreciate late '90s B-horror flicks such as The Faculty might enjoy The Strain for the kind of creepy, often goofy ride it is, even though it never gets too deep.

It's more of a kindhearted family show--but it does need some kind of edge.

But even Bader, a seasoned comedic character actor, can’t make the overly-quippy-yet-deflated dialogue land. Same goes for the rest of the talented but hung-out-to-dry cast, each straining for cringey humor in one limp written exchange after the next. Only Odenkirk and Enos succeed by playing their scenes utterly straight.

Norton's stony glare, and a supporting cast rarely rising above one-line descriptions don't sink proceedings. Even if this is just The Night Manager cross-pollinated with The Godfather, it produces a decent hybrid.

Star-Crossed is a by-the-numbers, odds-against, inter-species, teenage love story.

While it's a well-produced and entertaining series, it's disappointing to see writers and filmmakers heading back to the well to rehash lesser John le Carré works when current spy novelists like Olen Steinhauer, Charles Cumming, and Chris Pavone have modern novels that could easily be adapted--and likely with superior results.

Aside from giving these secondary characters more substantive scenery to chew on, our wish list also includes better dialogue for the leads, especially Spector, who spends far too much time reciting thematic exposition. When he does get to speak like a living breathing marginalized minority he’s downright gripping, but show runners Simon and Ed Burns should have more faith that viewers can read between the lines, and ditch the exposition. ... But if this miniseries falls short of those lofty goals, it’ll still be sturdily watchable, thanks to its pristine production value and impassioned acting.

Mixology has sharp-witted lines that are genuinely funny--if at times highly sexist--rather than being gratuitous, clichés, or too-obvious puns.