The sharply written series delivers a near-perfect balance of bitter and sweet.
A crime thriller and a sci-fi mystery that harbors ambitions of being a political drama.
Sasha Rainbow’s film loses all momentum once the face-swapping kicks into motion.
The show’s second season provides familiar pleasures and devious new twists.
The India on display in Santosh is fascinatingly shot through with contradictions.
Morrison’s feature directorial debut is marked by a vivid emotional authenticity.
The series puts a clever twist on the thriller genre but its political commentary feels jumbled.
Paddington in Peru offers an idea of Britishness that’s multifaceted and modern.
The film’s attempts to tell two stories at once ultimately see it damned by its own ambition.
Its pantomime villains aside, this is a film about men who are doing their best to serve God.
The film is most interesting when observing the subtler power dynamics at play within frats.
The answers the series doles out are a lot less interesting than the questions.
The miniseries boasts the same relentless energy as Gael García Bernal’s eponymous boxer.
It quickly becomes clear that Greg Jardin’s film isn’t just here to dazzle us with visual trickery.
The particulars of time travel in the film give the whole thing a tactile quality.
The eponymous character’s air of mystery quickly fades across the show’s eight episodes.
It retreads ideas familiar from time-loop stories without offering anything especially new.
The series delights in both concealing and revealing its secrets.
The series uses a criminal case from 50 years ago to explore a critical moment in U.S. history.
Most of the show’s mythological aspects are rendered in uninspired terms.