Season three's In Treatment [scripts are] entirely original. That may partly account for the so-far stagey quality of the episodes involving Jesse (Dane DeHaan), a 16-year-old gay male adoptee confronting a birth-mother problem....There is, otherwise, little that can detract from this series now roaring back with its old miraculous suspense and flinty intelligence.

Although the film ends on an odd note that seems to endorse near-subsistence farming as the only moral and sustainable form of agriculture, it makes an important record of a receding era.

It consistently pokes fun at our culture and foibles in ways that are clever and sometimes sharp but never mean.

Behind the Candelabra, a snapshot from the last decade of the pianist and showman Liberace, is sublimely entertaining.

What makes The Walking Dead so much more than a horror show is that it plays with theatrical grandeur, on a canvas that feels real, looks cinematic and has an orchestral score to match. For all its set pieces, however, Walking is most breathtaking in its small moments, in which the pain and glory of being human are conveyed with only the flick of a filmmaking wrist.

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.

Director Liz Garbus conveys much of the excitement and turmoil surrounding the subject of her documentary, Bobby Fischer Against the World.

Mr. Gervais has in no way lost his touch.

As painful as it is to see a fallen dog's body draped in the American flag, what Glory Dogs also does is deepen our appreciation for the servicemen who train them.

It is not very often that a TV series invents a new look, or even a new genre. After only two weeks on the air, it may be too soon to gush that way about FX's new drama Justified, but this is one cool show.

Impressive... Ms. Mirren leaves her authoritative stamp on the role of Elizabeth.

Rectify is an ambitious and eloquent series, vivid in its portraiture of family and local citizens who don't know quite what to make of Daniel (a proclivity the film seems to share)--assurance enough of an engrossing six hours.

The exceptional writing and pitch-perfect acting of Southland is not to be missed.

It's best to get quickly past the confused and shapeless first episode and on to the rest, where the characters become individualized.

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

Vide Shakespeare and all the other roles, Mr. Branagh has never been better cast.

This hour [is] packed with Mr. Brooks at his most endearing.

It is neither a cheap thrill or too painful to watch these lost souls being drilled in first impressions.

The production has a satisfyingly brooding, ominous look and it's possible to see the basic appeal for role-players and other fans of a realm that provides a limitless playing field for their own imaginations. Thrones also has wolf pups, which is always cool. But then we're back to the familiar favorites of the infantile.

The unit's work was top secret, its members' experiences, recounted in this film, fascinating above all for what they tell about the determined inventiveness, the all-out ambition to try everything, characteristic of that war effort.

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

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

Divorce, father issues, an aging Peter Pan—we've seen these things before. Not like this, though, with no false notes, and reactions, from pain to optimism, that feel honest and not manufactured.

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 short, a busy, fearlessly idealistic president (Martin Sheen) who struts through the neatly packaged, frequently deft and invariably predictable first episode of NBC's The West Wing, If the series continues at this level -- continues, that is, being handsomely produced, polished and thoroughly unexceptional in its content and aspirations, it should stand a very good chance of winning a bunch of Emmys. [22 Sept 1999, p.A32]

It is not an exaggeration to say that the effect is of opening a treasure chest and being showered with its riches.

White Collar takes off in its own refreshing directions, with enough wit and sparkle to make the time fly by.