The series recreates the military machinery of its World War II tale in exacting detail but struggles to bring its human stories to life.
Shuchi Talati’s impressive debut feature fully recognizes the power of a lingering gaze.
I Heard It Through the Grapevine makes the political personal at every turn.
Johnson’s film is effectively a light-hearted version of David Fincher’s The Game.
The anthology’s fourth season thrives on its ability to exist as both a brisk, thrilling genre piece and a weighty, philosophical drama.
The film is consistently revealing tale about how morality drives a wedge between people.
Aside from the moral dubiousness of converting dystopian fiction into reality-show spectacle, the series drags.
The series is less about whodunit than about the role that technology increasingly plays in our lives.
Once the film turns into a paranoid home-invasion thriller, there’s no ambiguity left to the tale.
Even if the storytelling is a bit shallow, there’s enough pure spectacle to make the series fun to watch.
Some familiar elements are missing from the series, but it can still deliver a distinct brand of wry humor.
Whether it’s delving into the mysteries of human DNA or those of the perfect lasagna, the series doesn’t fail to charm.
Totally Killer has a lot of fun poking at the tricks and tropes of slasher movies.
The series serves up a raucous blend of humor, action, and emotional storytelling.
The Peacock series is the equivalent of a budget hotel: cheap, charmless, and generic.
The film builds to the sort of incredible final bout that makes your hairs stand up.
Despite solid performances, the series gets bogged down by turgid pacing and narrative ambiguity.
The film serves as an endearing ode to the joy of music.
The film could have really benefited from at least a more dynamic baddie.
The film has the ethereal feel of a half-remembered, mostly pleasant dream.