The Oregonian

In the Season 5 premiere, Sheridan draws on his well-broken-in “Yellowstone” playbook, giving a variety of characters moments to be funny (the crew at the ranch bunkhouse), sassy (Beth’s withering putdowns of those who displease her) or warm (Rip’s sympathetic understanding of Beth). But Sheridan also indulges in a few too many speeches from John. ... If the Season 5 premiere of “Yellowstone” doesn’t exactly soar, it does serve up “Dallas”-style drama, juicy performances (particularly by Reilly) and gorgeous scenery.

The show isn’t bad, but it’s definitely familiar, with a cast of quirky characters who constitute a likable, if occasionally kooky workplace family. ... But these first 10 half-hour episodes are less interesting than “The Last Blockbuster,” Taylor Morden and Zeke Kamm’s documentary about how the Bend outlet came to be the last Blockbuster in America.

“Sometimes, I’m not sure why I make the choices I do,” Fielder says. Viewers may not know either, but “The Rehearsal” is unique in making us wonder. Whether you laugh, or stare in amazement, “The Rehearsal” will definitely keep you watching.

“Dark Winds” immediately establishes its own tone. ... “Dark Winds” avoids stereotypes, and feels fresh and vibrant.

The new season has its strengths – Episode 7 is a high point, for example, even at its lengthy running time. But other moments drag, and Hopper’s incarceration in Russia feels particularly endless.

So unsatisfying. ... The two [Theo James and Rose Leslie] have solid chemistry, and are charismatic. ... But based on these six episodes, I’d much rather watch Leslie and James using their talents elsewhere.

Though not everything works equally well (Howle’s Allen Lafferty is saddled with too many exposition-heavy scenes), “Under the Banner of Heaven” is both frightening and fascinating.

As Michael Peterson, Colin Firth manages to make us think he’s guilty as hell one minute, and possibly innocent the next. Toni Collette is touching as Kathleen. And while many a series has caused eyes to glaze over when the plot shifts to younger characters, the dynamics among grown children in this extended family are consistently absorbing.

While nobody will mistake “The Offer” for a timeless classic, the series has enough campy energy and gossipy showbiz verve that it keeps you watching, even when it borders on the ridiculous.

Uneven but watchable ... Roberts makes Martha Mitchell compelling, moving from caustic and charming to terrified. ... Penn is also effective, despite the padding and makeup.