Liam Mathews

The grand cinematography of the Canadian wilderness is beautiful. But for the most part, See proves that all the money in the world can't save a dud script. ... Nothing in the show works.

The show is thoughtfully written by showrunners Sam Shaw and Dustin Thomason, who have a knack for character and an ear for Kingian dialogue, and the gifted cast gives it everything they have.

Casual horror fans may not really get the appeal of Creepshow, but it's not made for them anyway. Horror aficionados, on the other hand, will find a lot to like.

"Evil is the best new broadcast show of the season by a considerable margin, and it will be very fun to watch it settle into itself and play with its form and tone even more, the way The Good Wife did. Hopefully it's not too weird for primetime."

Undone is one of the best shows of the year, an extraordinary union of style and substance. It's an awe-inspiring and impressive first series from Kate Purdy that establishes her as a major talent to watch.

The Spy is entertaining, if unmemorable.

In the two episodes screened for critics, we learn almost nothing about Martin, who Teller plays with taciturn menace. Teller is nonetheless riveting. ... Too Old to Die Young is extremely not for everyone, and some people are going to really hate it, while others are going to think it's brilliant. [Prime Video only screened episodes 4 and 5]

It also feels like a Showtime show in how it doesn't have the style or intelligence of the greatest cable dramas, and is more about being entertaining than having big ideas. But it's plenty entertaining, and it knows what it is.

It's a portrait of an American Muslim family never before seen in a sitcom, because these kinds of characters are never allowed to be this complicated.

Netflix's flimsy development process failed this show.

Is The Passage presented by Fox as good as it would be if it were on FX or HBO? No. But is it better than 95 percent of the other broadcast dramas that have hit the airwaves in the past 18 months? Yes, and just because it's trying to be better than adequate.

Just like Nas could never make another Illmatic, Nic Pizzolatto can never make another Season 1. You only get one divinely inspired first impression. But Nas made Stillmatic and has had a long, solid career. And that's what's happening here. True Detective is pivoting to reliability. It's no longer trying to be a sensation. It's just trying to be a good show.

Nightflyers is no fun. It's a grim, drab, thematically underdeveloped plot delivery system. It's a network show with a bigger budget and more blood.

It's a thrilling tale of institutional corruption and moral rot. It proves that Ben Stiller is the serious director he always knew he could be. It just took a return to TV to make it possible.

Sam Esmail does what he can to make the show visually compelling -- and he does a lot -- but it still feels like something is getting lost in translation.

It's much less interested in solving the crime than it is in building a sense of place, which may frustrate plot-hungry viewers. However, if you're willing to sit back and think about race, gentrification, addiction, poverty and post-industrialization, One Dollar is rich.

The Sinner is the Los Angeles Lakers and Carrie Coon is LeBron James.

The world has changed significantly since 2006, and the ugliness that Cohen once got people to reveal is out in the open. So the service Cohen provides isn't as necessary as it once was, which makes his new fake interview show, Who Is America?, feel inessential and even a little out of touch.

Stephen King's Constant Readers (and casual fans) will find a lot to like in Hulu's Castle Rock, a new drama series inspired by the horror master's stories, if they can stick with the slow pace.