In its final season, the series struggles to cook up something fresh, but it’s still hard to resist.
Though it’s slow to carve out the particulars of its world, Outer Range is ultimately an alluring exploration of lives and lands lost.
For a series meant to tackle thorny social issues and gender dynamics, Roar comes across as distressingly slight.
At its best, Tokyo Vice sketches out a detail-rich portrait of Japanese society and the criminal world that operates in its shadows.
Despite the centrality of a mental break to its proceedings, Marvel’s Moon Knight largely pretends at psychological depth.
Slow Horses is more of a dark office comedy than spy show, finding most of its drama in the tension radiating between its characters.
Halo looks a lot like well you might expect an adaptation of the game would, but it fails to distinguish itself from similar sci-fi fare.
Pachinko is an artfully staged and detailed historical epic that details one family’s experiences across generations.
Human Resources proves that there’s both comedy and poignancy yet to be mined from Big Mouth’s impulse-creature conceit.
That Dirty Black Bag sets the stage for an explosion of conflict, but it’s easy to wish that it took less time to pick up steam.
The Last Days of Ptolemy Grey starts strong but its main character only grows thinner as the story progresses.
The details in The Dropout are strikingly unembellished, but it’s the perspective-shifting storytelling that brims with imagination.
Super Pumped: The Battle for Uber is awkwardly split between a broader look at Uber and a bog-standard rise-and-fall narrative.
In its fourth season, Killing Eve remains keyed into the symmetry between its two protagonists as they converge toward a final showdown.
In its final season, Better Things continues to explore all the messy and meaningful ways that women reevaluate and rediscover themselves.
In its fourth season, The Marvelous Mrs. Maisel focuses on the aesthetics of its protagonist’s life rather than restoring her conscience.
While The Cuphead Show certainly boasts a unique flavor, it also feels restricted by its trappings.
Inventing Anna suffers from a few meandering detours but succeeds in its goal of elevating its central figure.
Thanks to its smart, sophisticated direction and sharp performances, Apple TV+’s Severance mercifully doesn’t feel like work.
Netflix’s The Woman in the House Across the Street… is a lukewarm lark that could afford to be wackier and weirder.
We Need to Talk About Cosby makes a similarly convincing argument about Cosby’s artistic greatness and cultural significance.