Clint Worthington

Arnold fans may find a lot of fun in the nostalgia soup of FUBAR, a show that does its level best to go down easy and throw a few member berries into our mouths. But at eight punishing hours, all of them stuffed with lukewarm melodrama and tepid, repetitive jokes, FUBAR may make you want to go AWOL from your Netflix subscription.

“Ghosts of Beirut,” offers up a “Zero Dark Thirty”-esque search for Mughniyeh, spanning multiple decades and perspectives. But in juggling all of these points of view, it conveniently forgets to make any of them particularly interesting, resulting in a stilted spy drama that refuses to elevate itself above mere procedure.

A glossy but moving tale of resistance and courage, and the risks everyday people take just to hold on to their humanity. ... But the clear highlight of an already-stellar cast (which also includes Noah Taylor and Andy Nyman as fellow Annex residents) is Schreiber, whose Otto is the pillar upon which the show truly rests.

You can feel the elements that made “Saint X” such a compelling novel become stretched, flattened, and dissipated by the show’s too-leisurely approach.

Birch bites off more than she can chew over the course of six entire hours. That said, it’s ultimately worth a watch for Weisz’s incredible work, some devilishly fun guest turns, and an ending that zigs where Cronenberg zags without feeling like an arbitrary change.

Impeccable dark comedy. ... [Hader] has a master’s command of blocking and pacing, each episode an exercise in prismatic stillness, often giving way to explosive violence. ... It’s hardly the original premise, but it’s hard to think of a show that explores it with as deft and devilish a hand as “Barry.”

The performances are game. ... But the series sacrifices a bit of depth in exchange for accessibility, keeping its famous players at arm’s length and speedrunning through the honorable work the ERC did in real life.

A show that can’t often decide whether it’s about that fragmented father-son dynamic, or the eccentricities of tech billionaires, or something in between. To its credit, there’s at least some charm to be found in the show’s eccentric cast and sly verbal wit. Unfortunately, most of that happens when the Lowes are off-screen.

In the hands of someone less self-aware, a show like this could get really annoying, really fast. ... Bless Burd for allowing us to see him laid so bare, lacing juvenile dick jokes with an earnest strain of pathos.

Like the best mystery boxes, each new answer raises more intriguing questions, which is enticing enough. But throw in buckets of blood and more Tori Amos needle drops than you know what to do with, and baby, you’ve got a stew going.

Season Three is a slight return to form, offering more time to hang out with its disarming, charming cast of characters. But even the show’s warmth is starting to wear thin, especially now that the sunshine has to spread across more characters, settings, and conflicts.

[Vincent Cassel and Eva Green] sail through these six episodes with the laidback efficiency we’ve come to expect from such professionals. The real problem is everything around them, serving a tired spycraft story that lumbers from trope to trope, even as it tries to spice things up with more contemporary nuances.

The Consultant doesn’t benefit from [creator Tony Basgallop's] impressive visual style (Matt Shakman’s direction in the pilot is too cold and clinical, despite ostensibly fitting the setting), or the high camp tone of its entire ensemble. Instead, The Consultant is one show you can easily downsize from your media diet.

To its credit, season two streamlines things in some ways, even as it grows clunkier in others.

This season of “Servant” delights in upending the status quo of our not-quite-nuclear family and seeing how it rattles the psyches of everyone involved. The results here, at least in the three episodes available for review, are just as delectable as ever, even if the show feels like it’s rushing to its mandated end.

There’s a lot in The Last of Us that feels stale. But within that repetition, there are glimmers of promise: Its slick presentation, Pascal and Ramsey’s soulful performances, the show’s intermittent detours to (forgive me) flesh out the world Mazin and Druckmann have set up. Newbies to the story may find plenty to love in the series, if they can get past the trappings of the genre itself. But if you’re familiar with the game, get ready to watch it all over again, with a couple of novel twists.

Macpherson doesn't reinvent the sci-horror wheel, save for a bit of eco-horror philosophizing here and there. But the show is effective in a nuts-and-bolts thriller way, with a cast of game Scotsmen (and a few others) grimly solving problems ranging from mutinies to prophecies to apocalyptic mechanical disasters.

Each of these stories paints a complex picture of the perseverance and endurance of American immigrants and the ways in which they add to the vast tapestry of the country they’ve chosen to call home. Like season one, all eight stories are narratively disconnected but watch them all together, and their cumulative effect hits with tremendous impact. ... Punches well above its weight class.

In lesser hands, this could fall flat on its face, so it’s a pleasant surprise to find just how easily it all goes down. Each member of the ensemble gets their chance to shine, both individually and when paired off. ... But any time we stray from our likable ensemble into the dirty business of the adventure, the show starts to lose steam.

Shockingly good casting (and a typically Gothic score from Danny Elfman) aside, there’s little to recommend about Wednesday. It feels like a reconstituted mush of Tim Burton’s late-career apathy, the vagaries of the Netflix streaming show model, and the unholy resurrection of the corpse of IP.

“Dead to Me” recaptures some of the magic it had in its strong first season. But in its desire to wrap up all of its loose ends along the way, Feldman and the writers stuff too many ideas into the mix, almost as if speedrunning a three-season arc into the one final turn at bat that Netflix would actually shell out for.

When “Tulsa King” coasts on its winking, knowing comedy, it’s gangbusters. ... The show around him occasionally struggles to keep up—Garrett Hedlund, Dana Delaney, and Annabella Sciorra are barely present, despite occupying significant space in the credits and press materials. But it’s worth sticking around to see what role they’ll play in Sly’s most interesting ride into the sunset.

Flaws and all, The English is impossible to look away from. It’s a bold, epic take on the Western, drawing from a half-dozen different cinematic modes and smashing them together until the pieces fit.

Creator Harriet Warner spins the central characters of the book into a dull, plodding prequel that simultaneously apes the camp appeal of the 1988 film while also stretching it into a dour tale of destiny and conspiracy.

Like any horror anthology, Cabinet of Curiosities is hardly perfect (it’d be boring if it were, frankly). But the misses are hardly unforgivable, and the hits are too entertaining to ignore.

The core ideas are interesting, long as you can keep them straight in your head, the cast is game, and the action is reasonably exciting. Let’s see whether patches in future seasons can upgrade this show from good to great.

At twelve hour-long episodes (for its first season alone), it’s a lot to get through, and more than a little bloated as a result. But in adapting Gregory David Roberts’ acclaimed 2003 novel to the screen, showrunner Steve Lightfoot (“Hannibal,” “The Punisher”) has crafted a show that captures the spirit of its source material, albeit in a slightly stretched-out package. ... It’s easy to get lost in the sprawl of Bombay and its vibrant international cast of characters, and wonder just what roads his salvation may take him down in future seasons.

Corinealdi handles all of Jax’s contradictions with fiery aplomb, bobbing from one end of Jax’s impulsive, messy whims to the other. ... That said, the ongoing push-and-pull of her many love interests grows a bit tiresome as the season progresses, especially as Lewis grows less and less sympathetic. The rest of the cast don’t fare as well, unfortunately, the scripts saddling them with some pretty corny dialogue and paper-thin character traits. ... But when “Reasonable Doubt” indulges in its seedier, soapier side, it can be trashy fun.