The film is a redundant showcase for Seth MacFarlane’s racy, dick-centric sense of humor.
The Brink will likely appeal to college and high school kids who just got their first taste of Chomsky and Zinn.
There’s an engaging trashiness to season two of True Detective, but the overall production feels overbearingly self-serious.
More incisively and ambitiously written than the last season, and sporting the most radically expressive imagery currently on television.
After a while, the film’s sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
It makes a classic mistake of trying to summarize an entire decade in America, with all its social tribulations and ideological transitions.
Considering that “Person to Person” is the series finale of Mad Men, it’s best to start with its final images.
The title of last night’s episode of Mad Men comes from a handbook for hobos written by Nels Anderson.
Last night’s episode of Mad Men is all about life as a series of entrances and exits.
Joss Whedon’s film struggles against the rigid formula that typifies the Marvel universe, but only does so up to a point.
The dark truth at the center of the episode is that business is always personal.
The writers also confront the dangers of not staying in the present.
Moselle’s slapdash, borderline indifferent aesthetic shortchanges the more fascinating elements of her subject.
If its copycat visual artistry illuminates nothing, at least its script is sincerely devoted to probing Finkel and Longo’s odd partnership.
Before one can start new business, one must settle old business.
In the show, even the most progressive form of capitalism hinges on a want to sublimate personal feelings, desires, and opinions.
Daredevil’s fight scenes are infused with the struggle of the poor and lower-middle class, and choreographed with thrilling uncertainty.
Season five of Louie refocuses on Louis C.K. as a lonely, divorced, ostensibly well-off New Yorker.
There’s plenty of death in the fifth season of Game of Thrones, and those deaths are understood as cautionary symbols of power.