Chuck Barney

Dockery’s rousing chameleonic performance, along with the tension-filled interplay she has with Botto, are enough to have us hoping that Good Behavior will ultimately be as good as it can be.

With the help of her stellar cast, creator Sharon Horgan (“Catastrophe”) manages to find plenty of humor in domestic turmoil.

Fearless, relatable, goofy and charmingly awkward, she’s just a joy to watch. She has a strong voice, too.

The good news is that Crisis eventually gains a bit of traction in its stretch run, but it’s much too late by then.

So far so good. ... A show that exudes a distinctive vibe and carries some social relevance.

We don’t know if Pitch can sustain its uplifting premise, but after a fun and engaging pilot episode, it’s ahead in the count.

The show is brimming with salty humor, cynical rants and plenty of raunch. But for all its bleak irreverence, You're the Worst also can be surprisingly sweet, tender and even poignant.

Queen Sugar is deliberately paced--almost annoyingly so at times--and the opening scenes of Tuesday's pilot episode have a disjointed feel to them. But the show eventually finds its footing and packs an emotional wallop as you get to know and care for its characters.

Though the show contains laugh-out-loud moments, it occasionally proves to be more melancholy than mirthful. Along the way, it has some sharp things to say about race, gender, the absurdity of celebrity and the nagging fear of failure. Glover's Atlanta, it turns out, has all the right beats.

[Ricky Jerret, played by John David Washington (Denzel Washington's son) is] the show's secret weapon--a handsome, energetic live-wire who expertly conveys the brash ego and subtle insecurities of a player whose career may be fading into the sunset at the age of 30. But make no mistake, this is Johnson's baby. With that all-glowing smile, he brings his A-game to Ballers while always managing to look good in a suit.

This adaptation of a BBC series differentiates itself in enough ways to keep things fresh and riveting.

More occasional eye-rolling ensues over the oh-so-earnest portrayal of Kelly Ann (Imogen Poots), a roadie who has become disillusioned with the state of the music biz. "I have to be a fan of something, or I'm nothing," she moans. On the plus side, Crowe's series does contain a beating heart, and it clearly is brimming with his undying passion for music.

The overall result is something rare--a film that sucks you in as a riveting thriller would, but also one that will make you pause to ponder issues of race, domestic abuse and our obsession with celebrity.

Told with style and assurance, this "Roots" revival is packed with credible performances, including Anika Noni Rose's terrific portrayal of Kunta's daughter, Kizzy in her older years, and Rege-Jean Page's charismatic turn as her son, Chicken George.

All the Way, at times, feels overstuffed, but you remain riveted while watching Cranston delve into the many layers of Johnson's personality, from folksy warmth to ruthless rage to the nagging insecurity over being considered an "accidental president."

It brings something fresh, bold and thrilling to prime time.

Mirroring Hill's demeanor in those incendiary hearings, Washington is all grace under fire, delivering the graphic allegations in a calm, composed and measured manner while nailing every nuance.

The Catch contains all the ingredients we've come to expect from the folks at Shondaland: glossy production values, a diverse cast, hyper-articulate dialogue, hairpin plot twists and lots of eye candy and writhing hips. If you've been a fan, you'll surely want to take another ride on the roller coaster. If that stuff makes you want to spit at your TV, it's best that you keep your distance.

Vinyl, after all, is at its best--and most interesting--when it sticks to the music industry with its oddball characters, egos and hedonistic ways.

Clearly rooted in life experience, Transparent continues to be a series that understands both love and pain.

Yes, this is chilling stuff. And provocative. It makes you ponder just how precious freedom really is and what kind of sacrifices you would make to maintain it.

Wu does what he can, bringing a steely authority and mad kick-butt skills to the role. But the show is hampered by too many overly broad characters, genre cliches and the kind of groan-worthy dialogue that leaves one restless.

The series takes its horror seriously. There are genuine jolts, along with lots of intense, turbocharged action sequences, and fountains of blood that give the story visceral oomph. The faint of heart may want to sit this one out. On the other hand, there's also enough comedic energy to keep things from feeling excruciatingly brutal.

Supergirl pretty much hits the beats you expect it to hit. There are rollicking battles enhanced by lots of digital trickery. There are hints of sinister threats to come, and some plot twists probably aren't as surprising as the writers think. Still, Supergirl is made with style and assurance, and it does enough to keep things interesting.

Although the first episode runs for a bloated 90 minutes, it provides only scant hints of a main plot thread.... So once again, I'm confronted with an AHS season that appears to be more gross than engrossing. Alas, I may not be able to check out of the Hotel Cortez, but at least I can change the channel.

The show does a decent job of setting up its premise, the pace is brisk enough, and there are plenty of visual flourishes, but somehow. it all feels a bit too mechanical. It doesn't help that, with few exceptions, the new characters are pretty juiceless.

He might want to switch to decaf for future shows. Seriously, though, Colbert did manage to hit plenty of comical high notes on an eventful night that featured actor George Clooney and presidential candidate Jeb Bush as his first guests.

[Dinosaur-rock] cliches still pack a comedic punch because, well, they're just so outlandish and evocative. The key is to bring some fresh twists to them, and for the most part, Leary's bunch succeeds in doing so.