If there’s a general air of emotional authenticity woven throughout all this garden-variety, faith-in-family hokum, it’s in the racing scenes.
Up until the final 10 minutes of the episode, what’s most remarkable about “Them” is its sense of quiet.
It’s structured in safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
Many ghosts come to tell Tyreese why he died, but none of them are quite as convincing as the nasally voice on the radio.
Disney crowns Isao Takahata’s entirely distinct film with a lovely A/V transfer that highlights its beautiful animation style.
Inventive in its visual effects, but it’s a cheap anti-authoritarian tantrum embedded in an intergalactic action-melodrama.
The film delivers the same misogynistic, faux-modernistic jolts of trashy humor and labored plotting that typify Michael Bay’s work.
Throughout The Americans, there’s an ever-present sense of an unwieldy narrative arc being perpetually built up, which has become a noticeable trend in primetime television.
Xavier Dolan’s tremendous empathy for the abandoned, medicated, and economically stressed is given full visual flight.
As much as it’s a genre workout for Macdonald, the script makes room for a tough-minded, psychologically corrosive depiction of vengeance.
It’s about breaking out of tired routines, which makes its disinterest in depicting new sides of common struggles so disappointing.
One of the more consistent and admirable qualities of Girls is its messy, funny, and heartfelt depiction of relationships as fluid.
The insights into modern existence never seem as profound as those on Louie, but it continues to brandish a view of gender that’s casually radical.
The show wants to both mock the no-bull crassness of political wheelers and dealers and cling to a moralistic view of government.
Rogen and Goldberg’s film essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
The show is a dozen white actors and a Lifehouse song away from being a Lifetime movie of the week.
The film Vallée has created out of Strayed’s beloved 2012 memoir never quite matches the blunt audacity of its simple title.
Dawn is ultimately only standing up for herself when she shoots Beth, protecting only her sense of respect at Grady Memorial and nothing else.
It puts more focus on delivering a jokes, imitations, zippy repartee, and sight gags than its plot’s familiar machinations.
The entire episode hinges on how one is to approach kindness and care in the world of the living dead.
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