With each new narrative development, the film’s game of cat and mouse grows more complex.
For a series that features a Trump-esque tycoon in a tale of police brutality, it has very little to say.
Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
In the end, the film reduces Winehouse’s life to little more than a sexist trope.
The film awkwardly pitches itself between a somber drama and antic melodrama.
The film rockets toward an action-packed finale filled with inventive touches and effects work.
The series doubles as both a high-speed comedy and a dark, biting drama.
Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
The series allows us to get comfortable in the familiar rhythms of a detective show just so it can then completely wrongfoot us.
Having Esposito in the driver’s seat prevents the series from spinning out altogether.
The further things go off the rails, the more the film revels in its retro special effects.
Though efficiently directed, the film is too concerned with keeping its main character likeable.
Despite some clunky characterization, the series is an ambitious and inventive piece of sci-fi.
The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
The series uses three distinct perspectives for a rumination on life and death.
In the basic rhythms of its story, Out of Darkness plays out like a Predator movie.
The Monk and The Gun draws plenty of humor from a collision of attitudes and ideas.
The film takes on a justice system unequipped to prosecute those who commit sex crimes.
The series builds something different on the sturdy foundation established by the film.
For all its thematic heft, and to its benefit, Exhibiting Forgiveness moves lightly.