Michael Hogan

There are issues of pacing here, both with the plotting and the dialogue. .... Still, for all the kitchen-sink bleakness, its community spirit still crackles with warmth, offering glimmers of hope.

Knottily complex storytelling, replete with plot twists and moral nuance, was an improvement on the uneven debut run. Themes of racial and sexual prejudice arose naturally from the narrative, rather than feeling tacked-on for 21st century relevance. ... Perry Mason is an underrated treat.

It gamely tries to channel the spirit of the beloved original but lacks its explosive energy, sizzling chemistry and camp melodrama. As a nostalgia exercise, it’s passably pleasant. As a drama in its own right, it’s neither automatic, systematic nor hydromatic. If you’re a hopelessly devoted Grease fan, this probably isn’t the one that you want.

Prolixity apart, Boom! Boom! tells a great story and throws in an intriguing thesis to boot.

Full of twists, turns and tonal gear-changes, Am I Being Unreasonable? is perhaps the most idiosyncratic home-grown series you’ll see all year. Try not to pigeonhole it or judge it simply as a comedy. Stick with it, strap in and relish the wild ride.

The way that Joe can turn a corner in east London and suddenly be in Piccadilly will give geographical pedants conniptions. But barbed wit means You gets away with such implausibilities and the odd tasteless flourish. ... I don’t usually agree with the notion of “guilty pleasures” but if they do exist, this ludicrously enjoyable romp is certainly one.

Sure, the script clunks portentously in places but nobody comes to Gangs of London for subtlety. Dialogue is often merely a place-holder, moving the plot along until the next operatic set piece arrives. ... Gangs of London is back with a bang. Not to mention a crunch and a squelch.

Mighty and magisterial. ... Icy wilderness covers more than one-fifth of Earth’s surface, leaving plenty more chilly habitats to explore. This six-part sequel celebrates them all in spectacular style.

Stylish, suspenseful and cleverly executed, Kaleidoscope gathers binge-worthy momentum as it barrels towards its climactic showdown. The nifty format enhances its air of mystery and intrigue.

Too technicolour for Nordic noir and not clever enough for Christie, Hjerson sailed along fine but wasn’t worthy of the top deck. Friday-night fluff, rather than Sunday-night class.

Three Pines isn’t the most original creation. You might experience a shiver of déjà vu at times. ... Yet its handsomely shot snowscapes, Christmassy setting and Molina’s beautifully measured performance make it a moreish winter treat.

Blockbuster has potential to be a feelgood workplace comedy with a warm, nostalgic glow. Sadly, you can’t create alchemy via a Netflix algorithm. Its elements don’t add up and the result is frustratingly flimsy. ... It just isn’t funny.

Nine episodes feels unnecessarily bloated. Strong performances, a sensitive tone and high production values mean A Friend of the Family is solid drama. It still feels like a story that didn’t need retelling.

Happily for film-makers, online investment is a treasure trove of colourful characters. ... It doesn’t bloat but barrels along, with the whole series coming in at under two hours. Did I fully understand the financial ins and outs? Nope. Did I enjoy the ride anyway? Heck yes. Consider me invested.

Sadly the strong cast couldn’t conceal a mediocre script.

It’s probably not for everyone but once you tune into its whimsical rhythms, Irma Vep makes for a coolly captivating summer binge-watch. Witty, sophisticated, not always entirely successful, but rarely less than riveting.

Black let the story sprawl too much. Ultimately, this has the sheen of prestige TV without ever quite delivering.

Her authorial voice has grown stronger. Better Things, always distinctive, has become even more its own beast. It’s not for everyone but when you fall for Better Things, you fall hard. Give it a go before it bows out forever.

DB Cooper may ultimately be unknowable but this is a cracking yarn, full of derring-do and colourful characters. You won’t discover definitively who Cooper was but you’ll enjoy the journey and have huge fun speculating.

It starts solidly enough but badly loses its way.

A miscast Pratt isn’t the only problem with this eight-part pudding of a production. The script and story are even worse. It’s that hoary old thriller trope: a conspiracy that goes right to the top.

On the evidence of its opening double bill, The Flight Attendant is suffering a textbook case of second series syndrome. Fasten your seatbelts and say a prayer. We’ve encountered TV turbulence.

The result is suspenseful and atmospheric but slow-burning to the point of inertia. The story works better as a righteously angry family saga than a fantasy chiller. Worth a look out of historical interest but for far superior drama, seek out the first series.

Eve of the Daleks was Doctor Who at its purest: giddily imaginative, old-fashioned fun and just frightening enough.

It’s a storming series, which manages to take on serious issues – mental health, domestic abuse, homophobia, child neglect – without ever becoming po-faced or worthy. The script is full of heart and humour. If you binge-watch the eight episodes (as many fans will surely do), you’ll feel spat out, exhausted, thrilled.

Bad Vegan, however, is a voyeuristically compelling story that’s ultimately more sad than scandalous. It left me feeling queasy and guilty, like I’d eaten an entire Domino's pizza with a side order of chicken wings.

This joyous second series reaffirms that it’s very much its own beast. Less of a sadcom, more of a screwball romcom. Just don’t call it kooky or quirky.

Reacher is huge, pulpy fun and far classier than you might expect.