The constantly dilating timeline of Lost continually forces the viewer to recalibrate what they’ve already experienced.
It suffers from its inability to disentangle its sentimental attachments from what is universally empathic.
The Trials of Ted Haggard serves as a reminder of the real lives that exist under the glare of public attention
As far as Christmas films go, you could do much worse than How About You.
Gossip in the Grain clearly shows Ray LaMontagne can do more than the typical singer-songwriter navel gazing.
Stranded takes a surprisingly Socratic approach to storytelling.
The album just doesn’t work—even for a sentimental bastard like me.
Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself.
Margot is most memorable when their lyrics side with the folk tendencies of their signature folk/baroque-pop/indie mixture.
For as impressively accurate as this film is, it still comes off as a purely moneymaking venture.
From the opening title sequence of Dexter, the motif of humans-as-meat is firmly established.
The premiere of Fringe does not reveal much beyond what we already know about the mind of producer J.J. Abrams.
Unfortunately, the chance to explore the gap between perceived and actual cultural realities is never tapped.
Apollo Sunshine is the kind of band that thinks because everything has already been done, the only thing left is ironic pastiche.
Brian Wilson’s greatest strength has always been his ability to express grief in the almost excruciating beauties of harmony.
Pro Tools serves as a hip-hop state-of-the-union address.