There is no mystery about the potency of this series, slathered in wit, powered by storytelling of a high order.

They [the Loud family] are to the contrary enlarged, explained, their family loyalty honored, in a film that ends up packing an emotional punch that's as surprising as it is eloquent.

The vibrant brew of upstairs-downstairs relationships is more savory now, the characters more complicated.

Once you watch the first episode, it's going to be hard standing the wait for the next.

Taken together there is in these 5 1/2 hours, breathtaking in their scope and detail, nothing approaching a dull moment.

Television's best drama series is, in short, back with all that was delectable about season one on vivid display again-first-class writing, sterling performances, rocketing suspense.

Moment after moment the drama deepens, the rich complexity of Ford's characters make themselves felt in all their strangeness and variety.

It's clear that all that has made "24" so huge and deserved a success is on display again in these first smashing episodes.

Thoroughly sharp, seriously compelling.

It's not often that television with a scope so novelistic--so ambitious--comes along, and not often, either, that it yields drama so sterling.

A work as shapely as it is sprawling -- no small trick -- it renders the complex history that led to 9/11 with a ripping power that can at times feel overwhelming.

Its capacity to maintain an unyielding grip on your attention becomes similarly evident fast, as does one's strong sense that that grip isn't going to weaken anytime soon.

Its vivid, cliché-free writing has always been In Treatment's singular strength. That's even truer in its riveting new season--no small accomplishment.

This three-hour production, starring most of the cast of the 2004 Broadway revival, flies by with lightning speed--and that cast led by Ms. Rashad, superbly authoritative, impossibly attractive as Lena, is no small part of the reason. Ms. McDonald is heartbreaking as Ruth, desperate to understand her husband's descent into misery, and Mr. Combs, who portrays that husband, delivers a sterling performance.

The new season returns with a full roster of the vivid characters who have distinguished the series from the outset, and in ways more important than the cultural detail for which Mad Men has been rightly praised. They're smart, they're self-seeking, they're recognizably human.

There is scarcely a central figure in American film, whether Cecil B. DeMille, Darryl Zanuck, Frank Capra, William Wyler, Orson Welles or a legendary star--that list is far too long to recite--who doesn't come to life here, in fresh perspective. It's entertainment for grown-ups all right, and you won't find that at the multiplex.

It's quickly clear that this skillfully sustained, sharply plotted series is a fighter saga you'll want to follow to the final bell.

What distinguishes this drama from countless mysteries about missing young women gone to terrifying deaths is the unrelenting focus, complex and haunting, on the family left behind. A riveting tale with a hunt for the killer that's no less compelling.

The cast is crowded and uniformly splendid. There's little about this captivating fusion of music, dance and potent storytelling of which the same couldn't be said.

It is, in its artfulness and drama, a smashing pilot and--from the evidence of the next episodes--a reliable indicator of the quality to come.

This immensely absorbing drama is worth any trouble it takes to catch up with its singular pleasures.

The Americans unfolds a thoroughly seductive tale of sleeper KGB agents.

Golden Boy is packed with fine performances, but no amount of actorly talent could have done for this series what its intelligently twisty plots, its nuanced dialogue bearing a distinct resemblance to human exchange--even from the mouths of TV police detectives--has done.