Refining an excellent template isn’t simple or easy, which is what makes Infamous 2’s success all the more thrilling.
The game’s superiority to its precursor is easy to discern, at least in terms of its next-gen graphics.
A home-invasion thriller with nothing on its mind except generating horror from its blunt, thematically barren portrait of nasty people doing bad things to innocents.
It’s so similar to Queen to Play that one half-suspects that the two films’ directors shared notes before going into production.
It’s fitting that The Tree of Life finds Terrence Malick finally returning to the beginning, travelling back, back, back to the dawn of everything.
L.A. Noire isn’t about exploration or combat, both of which seem to have been included more as tacked-on concessions to hardcore gamers than integral components of the larger story.
Dax Shepard delivers an I’m Still Here-style mockumentary of staggering incompetence with Brother’s Justice.
Bridesmaids deftly navigates the ins and outs of platonic-pal sentimentality while recognizing and reveling in the sublime pleasures of gross-out nastiness.