The Netflix show’s premise is like a playfully morbid Escher painting.
The miniseries transforms Agatha Christie’s novel into a formulaic, adamantly bleak exercise.
The series operates in the same world-weary register as its superior predecessors.
The show’s compelling core narrative can become overwhelmed by tangential storylines.
Black Monday dabbles in farce, social commentary, and character study, without managing to establish a coherent point of view.
The Kominsky Method‘s broad, formulaic humor undercuts any poignancy in the show’s portrayal of men in their twilight.
Homecoming‘s visual ambition is complemented by its intellectual curiosity.
Wanderlust arrives at the underwhelming conclusion that the grass only seems greener on the other side.
Camping focuses primarily on why things happen rather than merely striving toward hijinks.
The Romanoffs, an anthology series co-written and directed by Matthew Weiner, is ambitious but disappointingly inconsistent.