It’s exhaustive and it’s exhausting, and for a certain type of Beatles fan (like, I suspect, Jackson himself) it’ll be an irresistible delight. ... To embrace these near eight hours, you need to completely surrender to his pacing, to glory in every day of the Beatles’ sessions at Twickenham Studios and then at the smaller recording studio in the basement of their Apple headquarters. You may find yourself wishing that the boys would please shut up and play their instruments on a number of occasions, but the film clings to those endless conversations with the tenacity of McCartney trying to coax the right guitar line out of Harrison.

The power of "Leaving Neverland" lies in the faces of the two men telling their stories, and the anguish of mothers trying to measure their own complicity. It’s hard not to see truth in those faces, but no doubt many will continue to resist.

God what a good show this is. Who cares who killed who?

People of Earth earns kudos for going for the stars, but it also suffers from a failure to launch.

While there may be some hidden truths in the intended comedy, the scenes often come across as judgemental and ill-conceived.

Chemistry wasn’t the problem with either version of the pilot. Indeed both actresses are fine in the role, as is LeBlanc; it’s the show itself that could use some work.

It’s an honest, unflinching look at dating, relationships and life, told from a refreshing and hilarious perspective.

Marriage and its trials and tribulations emerge as something of its own character as the show presses on.

The producers and creator Jeremy Carver have deftly retrofitted a familiar film for the small screen with smart present-day touches and solid performances.

It’s a charming and quirky romantic tale with an overarching twist thanks to the notion that the world may indeed be ending, and it’s pulled of by two completely watchable leads.

[Conviction] is a mess from beginning to end, full of clichéd characters and confusing rules.

At the outset the pilot is a fun and adventurous romp without ever feeling campy or overdone. ... Where the plot gets bogged down is in the overall mysteries introduced in the pilot, namely those surrounding the Lucy character.

An overly jokey screenplay that lacks the sharpness of Allen’s best work. And the problem is also Allen, who has largely stopped acting in his own movies. As Sidney, he can be lovably doddering and still delivers the occasional quip with style. But more often, he’s the least compelling character on screen.

Westworld gives you a lot to consider, and immerses you so completely in its manufactured reality that you’re never distracted from its complicated questions. The best thing I can say about it is that after seeing the first four episodes, I’m very eager for more.

Comfort food television is a necessary and worthwhile product, but MacGyver is so bland it’s not even fun for a Friday night in.

The series is appreciably unsettling, but thus far it won’t make your head spin.

It’s like the writers are just throwing ideas on a wall to see what sticks. Nothing about this pilot feels finely tuned or carefully constructed. It’s a shame, actually, given the great chemistry between Perabo and Sunjata in the first place.

Bunbury is a star in the making as the leading character. ... Gosselaar is unrecognizable thanks to some newly acquired facial hair. As a result viewers will pay more attention to his equally strong performance and interactions with Bunbury throughout the hour. Mo McRae, Ali Larter and Tim Jo round out the solid cast, making for a pretty entertaining hour.

There are some nice emotional touches here. Early on, we see both men grappling with mortality in believable ways: Murtaugh paying close attention to the heart monitor on his smartwatch, or Riggs hunkered down in self-medicated mourning. But they’re only touches, brief moments of departure from the original formula.

[Minne Driver] jumps into it headfirst which helps the original sale, but as she settles into the role she will have to adjust the tone in order to toe the line between endearing and annoying. ... The real story here though is breakout star Fowler. For a kid who has minimal dialogue he has loads of star power thanks to fantastic facial expressions and giggle-worthy reaction shots.

Bull is certainly a light, breezy offering that could help you unwind after a long Tuesday. But if you’re looking for something with a little more meat and meaning, you’re going to have to visit another courtroom.

It’s a unique blend with four very distinct but compelling stories, proving there’s plenty of drama to be mined from real life. It doesn’t hurt that each of the actors is perfectly cast in his or her role, driving home the beautifully written scenes that often pose pertinent and universally relatable questions.

Creator Michael Schur (“Parks and Recreation”) must be commended for not only playing to Bell and Danson’s strengths but much like he did with his previous NBC hit, Schur creates a place for lesser-known cast members to truly shine.

Ultimately, this meandering, often brilliant show is held together by Glover, whose charming, sensitive presence is akin to the way Atlanta bops along on its own bemused frequency.

From one episode to the next, it’s always a bit of a surprise which character will become the story’s central figure, the writers seemingly able to make any of its dramatic players utterly gripping.

It sounds gimmicky and completely set up, but with this bunch it works.

The Get Down exudes the filmmaker’s operatic, lovingly campy spirit, and in small doses there’s a sugary rush to his ecstatic sequences of crowded dance floors, fervent gospel choirs and kids hanging out on the roof of their apartment complex, dreaming of a bigger world. But it’s what’s in-between those standalone moments where The Get Down gets bogged down, the drab storytelling lacking the punch of the show’s period-rich production design and outfits.

The show’s centerpiece remains Malek’s mesmerizing turn as Elliot, as well as his chemistry with Slater‘s Mr. Robot. Excavating that much emotion from deadpan narration is a tough gig, but Malek continues to find new shades of neutral both in voiceover and in his scenes.