The shifting tones and conflicting storytelling severely limit any chance for this series to thrill you, let alone keep your attention.

“The Sinner” continues to intrigue and keep us guessing. Much of the success of this season’s story has to do with some smart casting. ... [Bill Pullman is] the engaging center of this entertaining puzzle.

“Lone Star,” starring Rob Lowe, has more modest ambitions and delivers far less exciting results [than “9-1-1.”]

Hugh Laurie — steering the (space)ship here as bearded Captain Ryan Clark — can’t save this HBO series from its over-reliance on leaden jokes and cardboard-cutout characters.

The cast gels nicely, and “The Moodys” was obviously shot in a real neighborhood (and not a studio back lot), which lends an air of reality to the situation, however contrived it might be. Those situations, though, are kept to a minimum, and this is one TV family in which you won’t mind investing six hours of your time.

While the show bears similarities to all of its procedural predecessors, Wolf and longtime “Law & Order” collaborator Rene Balcer have built a more promising foundation here by casting better actors than ordinarily found on these pedestrian dramas.

That shiny Golden Globe will buy her some time to find her voice but, right now, her show is only fitfully amusing.

“68 Whiskey” won’t make anyone forget “M*A*S*H” — or even “Catch-22,” for that matter — but it tries hard to provide at least a taste of what life is like in a modern-day war zone fraught with lurking danger and, at times, death.

Even if the political message was less trenchant than the one presented on “All in the Family,” the actors did a better job of conveying the established family dynamics without resorting to the mugging displayed by Harrelson. Amos’ surprise guest appearance also sweetned the pot. The only weak link was Jay Pharaoh in Jimmie “J.J.” Walker’s role of James Evans Jr. Walker is a hard act to follow.

It is not, "Beavis and Butt-head" it is not "The P.J.'s," it is not "South Park," it is not "The Simpsons." Heck, it's not even "King of the Hill." "Clerks" is like a more amusing version of my least favorite animated show of all-time, "God, The Devil and Bob," which mercifully went to cartoon hell about four minutes after the premiere.[31 May 2000, p.95]

I just sat through most of the nine episodes of Falcone. And I’m here to report that I would rather be the victim of a mob-related hit than watch/read/endure one more Joe Pistone (aka Donnie Brasco, aka Falcone)-related saga.

It’s not an easy show to watch (camera work aside, but I’ll get to that later). There aren’t a lot of laughs, and it’s riveting as hell...The acting is so good it knocks out most other shows you’ll see.

It’s got the grit, grime and even potential greatness of the old “NYPD Blue,” but for reasons I hope never to understand, it’s also got stupid, tricky camera work — a surveillance camera, for one, and a hand-held videocam a la “The Blair Witch Project.”

It also lacks something you expect in a comedy, but rarely get these days: Laughs. Daddio is cry-out-loud lousy.

I’m not clairvoyant enough to know whether viewers will be too freaked to watch The Others a second time. Whatever happens to the show, there’s no doubt that it’s breakthrough television.

Parts of it are very good and some of the lines are very funny, but a lot of it is also condescending. [14 Jan 2000]

The writers could have had some fun with the prospect of the Buchmans facing each other in mid-life, but instead they lurch from empty-nest gags to menopause jokes.

Stiff of spine and thin of voice, this Elizabeth (played by Oscar winner Olivia Colman) may make you long for the incandescent Claire Foy ... The history lessons check some necessary boxes — Churchill (John Lithgow) goes to his eternal reward in Episode 1 — but also resurrect delicious bits that may have been forgotten. ... With an ever-present cigarette holder and air of hangover chic, Margaret is a free spirit trapped by the rules of the palace, and her contrast with Elizabeth is something Morgan returns to again and again with striking results.

“Bless the Harts” doesn’t reinvent the animation genre, but it’s a nice addition to Fox’s ’toon-heavy Sunday-night lineup.

Fantasy junkies may be able to get by on this grade-B stimulant until the next great visionary show comes along, but right now the second-season renewal (before premiere) for “Carnival Row” seems extremely rash.

The episodes, around 23 minutes apiece, fly by rather quickly. So that’s a plus. Overall, though, there’s nothing too memorable about “This Way Up.” It’s a pleasant diversion if you’re looking for something to binge quickly but, like a summer rain shower, it will be here and gone before you know it.

When it finally gets going — and that would be Episode 3 — Season 2 of the Netflix series “Mindhunter” finds some resonance by delving into one of the most notorious 20th-century serial killer cases — the Atlanta child murders of 1979-81. At least 28 children, adolescents, and adults were killed.

Bitingly funny, it echoes the best satiric elements of the ABC hit without the baggage of having too many characters with subplots that fall all over themselves.

There are a few extraneous plot points that could have been avoided — no spoilers — but overall this cast seems to be having a nice time reconnecting with each other, both in their real-life and their mockumentary personas.

Intermittently murky. ... All in all, though, “Pennyworth” does the job. As the titular character, Bannon (“Medici,” “Endeavour”) is roguish and charming; his British accent reminds me of the GEICO gekko from those classic TV ads, while Corrin et al. provide solid support.

While it can’t capture the lightning of the original, which aired on UPN/The CW from 2004 to 2007, it’s been nurtured with such love, camaraderie and snark that fans (who go by “Marshmallows”) should be more than satisfied — and newcomers might find a new series obsession.

“Pearson” lacks the humor, quirkiness and cast chemistry of “Suits” embodied by mudding, cat-loving attorney Louis Litt (Rick Hoffman). It’s a solid, by-the-numbers drama that checks off all the usual boxes but doesn’t offer much that’s new, other than some nice location photography.

The musical numbers, always the highlight of the Tonys and designed to sell as many tickets as possible, were a bust on the telecast. ... As for Corden, this was not his finest hour. The opening number, written especially for the telecast, was a dud, and he seemed a bit tired throughout the evening.