Spider-Noir never undercuts its sense of atmosphere with a knowing wink.
Based on a true story, Tow is flawed by a fundamental lack of authenticity.
The can-do spirit of Glowicki’s film takes it a long way.
In its second season, the series continues to embrace theatricality and artifice on a grand scale.
The film basically imagines what My Fair Lady would look like if it had teeth.
Season two is even more mired in soapy family squabbles and love triangles than the first.
The only thing surprising about this film is what Dolly does to Seann William Scott’s mug.
For better and worse, the film suggests a low-rent spin on Terminator 2: Judgment Day.
The film’s climax is an unexpectedly tender spectacle of body horror.
Mewgenics unlocks an astonishing level of depth and variety through its mechanics.
Between various ritual scenes, Mother of Flies gives us minimal drama.
Pathologic 3’s great achievement is its reexamination of the series from a new perspective.
Season two offers another hour-by-hour chronicle of an emergency room shift from hell.
Lunar Software’s game is notable for how it builds tension on the margins.
To play the game is to feel control being wrested from you.
The game brings its mechanics to bear on mood with impressive seamlessness.
The series is about as indistinct as its title, following a friend group striving to make it.
The fragmented structure of the four-part miniseries leaves it with no coherent center.
The series finds the comedian delivering some of his most gleefully inspired nonsense to date.
As a horror game, Bye Sweet Carole is a fundamental miscalculation.