The Sci Fi Channel's brilliantly reinvented Battlestar Galactica - a terrific miniseries in 2003 - is now the full series it deserves to be. If it's given the room to grow that the 1978 original never got, it could end up being one of the best sci-fi television outings ever...An intelligent, attention-demanding, character-driven show, it marks a maturing of the sci-fi series genre. This series is to ``Star Trek'' what ``Hill Street Blues'' was to ``Dragnet.''

The only show with kinky father-daughter conversations. And no, that's not a good thing. [24 Sep 2001]

Just when you thought the teen melodrama was completely played out, along comes another trite "Dawson's Creek" clone to cause cringes of annoyance and pangs of distress. [12 Jul 2000]

Wolf Lake attempts to revel within the originality of its otherworldly concept but never does anything remotely original or otherworldly. [12 Sep 2001]

Cybill is bawdy, rowdy and fun. Indeed, it's a comedy for the over-the-hill gang to look at - and laugh ruefully along with all the wrinkle, cellulite, bad date, bad sex, bad marriage jokes. [11 Jan 1995]

If the concept is captivating, the execution, at least in the pilot, leaves something to be desired. [12 July 2004, p.e37]

Throws off a lot of sparks but it never really ignites. [9 March 2002]

Two nights might have worked better for this series, but if noises at night make you jump, "Stephen King's Rose Red" will give you a decent dose of the heebie-jeebies. [27 Jan 2002]

The production values are exceedingly high, and you could find worse excuses to stay up past your bedtime. [12 July 2006, p.038]

Oh, if only television critics could be like Simon Cowell on "American Idol." I could declare Stephen King's Kingdom Hospital positively dreadful, and viewers would never have to see it again. [29 Feb 2004]

Kevin Smith's animated "Clerks" is pure looniness with a crunchy layer of sweetness at its heart. The stars of the original 1994 indie film are all here, including Smith as Silent Bob. The animation is crisp and the facial expressions alone can be hysterical. [31 May 2000]

Although the heart of this drama - the tenuous nature of mental health, as embodied in the character of Dr. Banger - is a universal issue, it might not be something most want to examine on a weekly basis. [30 March 2000]

The Beat resonates with a quirky, dark pulse. [21 March 2000]

You have to wonder if Morgan and Wong learned anything from Chris Carter. With no semblance of an ongoing secondary story line, such as the government conspiracy of "The X-Files, The Others" boils down to a gaggle of flaky mystics who flit about applying their brand of drippy New Age closure. [5 Feb 2000]

This part of Dylan's story is, of course, well known. In understated style Scorsese makes it fresh, unearthing a wealth of rare performance footage of the impossibly young and magnetic singer and mixing it with incisive talking head interviews. [26 Sep 2005, p.41]

This eight-episode installment available Thursday just might be my favorite of the series. It has more heart and far more willingness to address the messiness that comes with adolescence. It also features several genuinely creepy moments that have everything to do with something not of this world.

The number of betrayals and reversals in the next two episodes are enough to twist any sane viewer into a pretzel.

It all seems so ridiculous until you remember we lived through it. At times, “Loudest Voice” plays like a white collar version of “The Sopranos,” as when Ailes orders his PR guy and fixer Brian Smith (Seth MacFarlane, “The Orville”) to take care of a leaker. Crowe, covered in mostly great prosthetics and looking as if he is wearing a fat suit that ate another fat suit, wheezes with every waddle and authentically underplays a human volcano.

The results are nothing short of breathtaking. Without relying on the fancy special effects of a film like "Apollo 13," the 12 episodes tell their fascinating real-life sagas patiently, clearly and with reverence for the courage of the astronauts and their support teams. [3 Apr 1998, p.52]

The six-part “Years and Years,” an often funny, often bleak, deeply unsettling look at our near future, follows the fortunes of the Lyons, a Manchester, England, family as they are rocked by the political and technological changes shaping the world. Imagine “This Is Us” crossed with “Black Mirror,” only with a slightly lower body count than the NBC sobfest.

ABC’s “Reef Break” is everything that CBS’ “Hawaii Five-0” should be — breezy, bright, a wee bit sassy, a whole lot silly, the ideal summer show to catch as a nightcap before bed.

Your appreciation will rise and fall on your enjoyment of seeing Boston and its people portrayed as profoundly racist and corrupt.

As with every good soap, there’s a bit of cathartic pleasure in seeing rich, gorgeous people suffer like the rest of us mere mortals. Whatever word you choose to describe “Big Little Lies,” the new season looks to be just as addictive as the first.

Unfortunately, it’s the law of diminishing returns.

Whatever pacing issues the miniseries has fade away in the final, 90-minute installment as DuVernay proves to be a canny storyteller, saving the most harrowing, horrific, heartbreaking chapter for last.

Newcomers can enjoy the film on its own — it features a few flashbacks to catch viewers up to speed — but it’s best savored after a series-binge. This film can stand as a series finale and, just as strongly, as a springboard for more episodes.

Turturro, who is credited not only as an executive producer but one of the miniseries’ four writers, gives one of the most restrained performances of his career. His cleric is soft-spoken, always watchful of every detail in a room. His efforts seem to give other performers license to overact.

The pilot shot extensively in Italy and takes great advantage of the gorgeous, historic locations, including the Roman Forum and Appian Way. The dialogue, however, is often distracting and grating.