The characterizations are carefully nuanced in Southland, and the performances are equal to the quality of writing.

Abbott makes sure the quirkiness of the Gallaghers is firmly rooted in three-dimensional, credible characterization. You never feel a bit of inauthenticity here.

Fellowes does know how to write some tasty dialogue, especially for Maggie Smith....The other performances are equally winning, but beyond that, you can't help feeling these actors are having a jolly good time with all this overblown fluff. And so will you.

The ensemble cast is terrific and the direction lean and perfectly pitched at every turn.

Well, subject matter doesn't get more profound than life and death, but, thanks to McCarthy's writing and the two veteran actors, we're completely drawn into the discussion, so much so that we're taken by surprise as McCarthy careful injects another possible interpretation of the play's set-up.

The performances are precise and beautifully detailed, as are the characterizations in Thomas' script. Fans of the original series will see certain echoes in some of the characters in the sequel, but the echoes are faint enough to allow us our memories of, among so many others, Rachel Gurney and David Langton as the Bellamys, Angela Baddeley as the cook and Gordon Jackson as Hudson, who was so much more than just the butler.

Even without the original source material, Cinema Verite offers provocative insight into how far we've become lost in the reality-TV wilderness in the past 40 years.

Wilfred works on many levels, something that may not become apparent until after you stop laughing.

The performances are superb, especially that of Sewell in the title role. He underplays the part to sublime perfection, making Aurelio Zen one of the most attractive and fascinating TV cops in years.

The Hour stands perfectly well on its own merits. It's so good that other shows should start looking to it as something to emulate.

Person of Interest separates itself from the gimmick pack, not only because of superbly nuanced characterization and writing but also because of how it engages a post-9/11 sense of paranoia in its viewers.

A genuinely funny and immediately likable sitcom.

The series commands our attention because of how it was conceived by Neil Cross, who continues to write masterful scripts.

There are a couple of bush-league moments in the show....[But]those are minor quibbles, made even more insignificant by the extraordinary performances of Danes, Lewis, Patinkin and Baccarin.

Great historical documentaries not only enlighten us about the past, but tell us things about our own times as well, either directly or implicitly. Prohibition, the latest project by Ken Burns and Lynn Novick, states the implicit links between the passage of the 18th Amendment and contemporary politics so loudly, you'd have to be drunk on bathtub gin not to get the message.

If Kirkman, writer/show runner Glen Mazzara ("The Shield") and the rest of the team continue doing what they're doing--and following the template Darabont created--The Walking Dead can have a bloody long life.

The portrait of Belafonte that emerges from the film is also the portrait of the times of his life, the times of the nation's life in the past 60 years.

When you have a story as thoroughly involving as this one, evoking both "King Lear" and "Citizen Kane," and when the performances are this good, Boss almost directs itself.

State of Play is one of those series where a moment's brilliance is rivaled by the very next scene, a careening thriller that gives credence to the idea that there may not be any better format for telling an impact story than over the course of four or six hours. [16 Apr 2004, p.E1]

The series is so pervasively cynical--and, by the way, brilliantly funny--it has the potential of making any viewer feel his or her life isn't so bad after all.

The emotional authenticity of Downton Abbey continues to make it a classic.

It's as great as ever.

Like "Justified," it's impossible to point to one element as the primary reason it works so well.

"Deadwood" fans already know that Milch doesn't make it easy for viewers to get a purchase on his series, but for those willing to do the work, Luck, pays off.

[It's so] good you can't help wondering why no one thought of it before, a compelling mix of credible real-life melodrama with a fictionalized approximation of what it takes to get a Broadway show from the idea stage to opening night.

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.

Awake grabs you, unnerves you, breaks your heart and even makes you work a little.

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.