One of the many virtues of Buirski's film is that it doesn't hit viewers over the head with the parallel between the Lovings' case and the debate over same-sex marriage. The parallel is simply there, to be identified and considered by the viewer.

Game Change is graced by three extraordinary performances in the leading roles, beginning with Moore's portrayal of Palin, which is both complex and entirely credible.

Girls represents an exciting moment in television history because, like a handful of other shows (MTV's "Awkward," most notably) it not only makes great use of the medium but has the creative guts to realign it for a new century and a new generation.

Everything you fear might be true about how our government works--or doesn't--becomes hilarious fodder for Veep's biting satire.

Sunday's season premiere sustains the quality of the first season, continues the story line in a completely credible way, and then opens up even more possibilities for future plot developments.

Weight pulls no punches, spares neither the multibillion-dollar food and advertising industries nor public officials for not only failing to fix the problem but actually making it worse, and essentially writes a prescription for the nation's health and economic future that we ignore to our peril.

What's remarkable about this quartet, and why Push Girls proves that reality shows can actually be intelligent and engaging, is that in most ways the women's lives are in fact not all that remarkable.

They [Rayna and Juliette], and the other characters, are anything but [one-dimensional cliches], thanks not only to the writing but also to the performances of the colorful and capable cast.

Louie is the gold standard of contemporary TV comedy.

From the two new episodes made available to critics for review, it's clear that the quality of Breaking Bad will continue undiminished.

The entire constellation of impetuous, ambitious, determined and insecure young urbanites in Girls is realigning in the new season, but at no point in the four episodes sent to critics for review do you feel that any of it is artificial.

Copper has much to recommend it: action, passion and great performances arising from an exploration of classic American themes.

The series is so good that it isn't seriously harmed by its few minor flaws. Much of the dialogue is brilliantly written, revelatory and credible.

At every turn in this heart-wrenching series of films, we are reminded that these men and women are human, no matter how robotic they may seem as they rapidly snap off shots of death and tears.

The performances, the writing, the intelligence that goes into the script and the characters--all reasons for welcoming the start of a new season of The Hour.

The dialogue in the first two episodes of the new season crackles with brilliance.

Self-delusion can grow fairly tiresome, in life and on TV, but what makes Amy sympathetic is that even though she almost convinces us at times that her personal fairy tale actually makes sense, we are always aware of her basic decency and, more important, her vulnerability.

There isn't a better cop show on TV right now than Southland.

Parade's End is a television masterpiece.

Top of the Lake is Jane Campion and her cast at the top of their game.

Mamet is very much on his game in Phil Spector, but so is every member of his cast, including Al Pacino as Spector and Helen Mirren as attorney Linda Kenny Baden: Watching these two titans of acting work is half the fun.

Don Draper's journey has been and remains maddening, in a very good way as far as what makes a great TV show.

Michael Douglas is astonishing.... Damon is just as good, somehow convincing us that he's far younger than he is in real life and artfully keeping us guessing about Thorson's true motivation as he worms his way into Liberace's life.

The art of war takes on new meaning in Rick Beyer's mesmerizing documentary.

Whitechapel may not reinvent the police procedural, but it's great fun, and the third episode is a heart-stopping race against time.

Their unwavering obliviousness to what may be happening in the world actually makes their accidental commentary on current events even funnier.

It definitely has its moments.

All in all, it's astounding how many plot elements can be packed into 90 or so minutes and how well all of them can be resolved in the hands of a competent writer like Stephen Churchett.