Larry Fessenden diagnoses the rot of our era through the shifting personalities and power dynamics of solipsistic men.
Subtlety dissipates as Justin Chon’s film grasps for something louder and more obvious.
One hopes Man of Medan will function similarly to a mediocre TV pilot for a series that only later finds its footing.
The game is as much a thrilling paean to human curiosity as it is a warning of its numerous casualties.
The show’s myriad absurdities are resonant reminders of how tough it is to get lost in the labyrinth of capitalism.
The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
The series is striking not only for its scope, but for how uncompromising it is.
The game isn’t really supposed to be about anything, yet in that ambiguity it captures the specific madness of our present.
It experiments with all the weakest parts of the series and ties them together with a new, tedious progression system.
The violence of Jennifer Kent’s film doesn’t seem to build upon its themes so much as repeat them.
The miniseries is a cautionary tale of how ballooning a story’s size doesn’t inherently improve its telling.
The Amazon series is a little too fond of its antiheroes to really throw them in the muck.
The film is more straight-faced than Alexandre Aja’s prior work, trading absurd kills for narrow escapes from gaping alligator jaws.
Its repetitive tasks are like the usual arbitrary gates to reach a cutscene in a mediocre video game.
Where the game goes in-depth, and where it clearly feels most comfortable, is in its omnipresent brawls.
Worse than the sheer tedium of shooting is the effect it has on the game’s atmosphere.
The miniseries does little more than reinforce everything the left always suspected about Fox News.
When the series isn’t immersed in pulpy shenanigans, it aspires to be a sort of Bostonian The Wire.
Euphoria’s central relationship is luminous, but the series struggles to develop its other characters.
As the series has continued, it’s grown more outlandish, oppressive, and removed from the things that made it so captivating.