Greg Evans

“Muhammad Ali’s Greatest Fight,” Stephen Frears’s talky HBO dramatization of the boxing champ’s anti-draft legal battles, finds its liveliest moments in grainy snippets of archival news footage.

The Coen Brothers’ remarkable “Inside Llewyn Davis” is a conjuring act of near-magical conviction, an ode to the artistic spirit that’s as uncompromising as the troubled genius it chronicles.

Joseph Gordon-Levitt’s Jon Martello is a neatnik who arranges his life around family, church, gym and sex. He gets a lot of sex. But he prefers porn.

The revolution is televised on “Masters of Sex,” Showtime’s inexhaustibly pleasurable drama and the fall’s best new series.

“Prisoners,” the masterful suspense thriller that will send Quebecois director Denis Villeneuve to Hollywood’s upper ranks, is proof positive that genre filmmaking can tackle the unlikeliest, most unpalatable subjects.

The brainchild of producers Sam Mendes and Pippa Harris, PBS’s “The Hollow Crown” makes inspired use of Britain’s top-rung stage directors and actors to present a mostly splendid miniseries of four connected Shakespeare jewels.

“Mr. Burns, a Post-Electric Play” is that rarest of comedies: funniest if you already know the punch lines.

Four Americans storm Normandy in Luc Besson’s dark comedy “The Family,” with only a bit less bloodshed than the last time around.

In Netflix’s tender-hearted dramedy “Derek,” an elderly friend tells Ricky Gervais’s mentally challenged title character that it’s “more important to be kind than clever.”

Cantor Fitzgerald LP Chief Executive Howard Lutnick settles some scores -- mostly without tears -- in Danielle Gardner’s “Out of the Clear Blue Sky.”

Look past the lame, dated title of “Last Tango in Halifax,” a six-part British miniseries making its American debut on PBS, and find a sprawling, completely charming tale of two aging pensioners given a second chance at love.

“Passion,” really? How about “Cold Calculation”?