You won't find a better rendering of time and place anywhere else on the sprawling TV landscape. This is still the real deal, through and through.

So far it's the televised documentary film of the year, with its truths stranger than fiction from opening move to checkmate.

The 90-minute HBO documentary, one of the very best in a long line of standouts, is in no way a pity party for Flood.

Viewers craving a satisfying gourmet meal rather than another summertime "reality" Moon Pie are urged to make The Hour a Wednesday night ritual for the next six weeks.

The fun is in the snappy dialogue and the impeccable actors delivering it.

It's compelling, enthralling and steeped in current realities.

It's HBO's most mature half-hour series ever, rising above the material worlds of Sex and the City and Entourage to offer a road worth taking in pursuit of a "higher self."

In the end, it may be the most fun you'll ever have with a Ken Burns film.

It has Emmy caliber performances from its two leads and an authenticity that won't quit.

FX sent the first five half-hours for review, and they're all gems.

Gilligan and company keep on pushing Breaking Bad to new highs.

The drought-stricken, spirit-sapping Great Plains of the 1930s get the lyrical and learned Burns treatment.

Watch at whatever pace you'd like--immediately. Given its quality, I think you'll be drinking it all in sooner rather than later.

It keeps going about its business, getting better than ever each season with a restrained but gripping approach that's also sure to wear well decades from now.

Although its principal supporting players are first-rate, Rectify would be lost in transition without Young’s stellar work in the lead role. It’s a fearless, fully immersed, Emmy caliber performance tinged with sadness, searching, primitive pleasures and even a little comedy.

Louis C.K. shoots from the lip and keeps scoring. The beauty is the seeming ease with which he does this. And the knowledge of how hard it really is.

It sometimes lapses into the abundant cliches of its genre. Pound for pound, though, you won't see many better dramas this season. Gloves on or off, it keeps scoring points.

[A] very amusing and splendidly acted comedy about what happens when an American television network mucks up a long-running, award-laden British hit.

Comedy Central's The Daily Show at last has a worthy rival in the "fake news" game.

Traffic Light is winning and amusing without being loud and loutish.

The disparate detectives of The Killing may have their own means and methods of getting to the bottom of this. But the overall air of believability is palpable from the start. All the better for taking a deep breath and diving right in.

Dexter likewise remains in solid shape, with new characters generating some additional heat while its namesake keeps plying his trade.

Not everything is letter-perfect about The Big C. But Linney sure is--and that's more than enough.

A summertime winner here on the strength of strong acting, engaging writing and an immediately gripping premise.

Grammer's performance is thoroughly engaging and convincing. And the events swirling around him never fail to snap, crackle and pop.

Vietnam In HD is vivid and compelling without being intrinsically political.

It's a genuinely chilling four-hour adaptation of the tireless horror-meister's 1998 bestseller.

The real joys of Smash are its performances and production numbers, some fantasized, others part of the bare bones auditioning process.