The series isn’t funny, endearing, or memorable enough to recommend around the water cooler.
Tatiana Maslany’s commanding presence can’t overcome the show’s hodgepodge quality.
Still, Jack Thorne’s series manages to rally when it counts the most.
The series has the distinction of being the first Man on Fire adaptation to lack its own identity.
The series leaves you watching through your fingers one moment and belly-laughing the next.
The show’s second season is just as sharply written and darkly funny as the first.
The greatest existential threat in the final season of ‘The Boys’ turns out to be reality itself.
You’re not the boss of me, nostalgia—but you get a pass this time.
The show’s third, and possibly final, season is every bit as stomach-churning as the first two.
The series explores brotherhood and male relationships more broadly through the years.
This season of Netflix’s anthology series explores the generational rift fomented by capitalism.
The series plays out more like soap opera or a full-blown farce than a grounded satire.
Some things are old, some are new, and quite a lot is borrowed in this Netflix horror series.
The show’s third and final season feels less like comedy and more like dystopian horror.
In its second season, the series continues to embrace theatricality and artifice on a grand scale.
There’s a sense of boldness missing from the show’s laidback, escapist tone.
The series boasts a unique charm that sneaks up on you.