The game eventually becomes a bout of scientific calculus on autopilot.
In the game, RoboCop’s actions are emphatically framed as making the world a better place.
The show’s alien ecosystem is often far stranger than anything in its characters’ heads.
Demián Rugna’s harrowing film spares no one from the cruelty of its world.
Xalavier Nelson Jr.’s game suggests a Halloween attraction as curated by John Woo.
Trepang2 sits at the blissful intersection of the very silly and the very serious.
The film is more invested in making its characters likable rather than risking our sympathies.
The series may not be great drama, but its fantastical blend of action and comedy is a great deal of fun.
The film is almost impatient about teasing out any depth of feeling from its scenarios.
Charlotte Regan’s film is a baffling clash of two incompatible visions.
The game differs most from its predecessors in its more open-ended sense of progression.
In the end, Love Life feels like a pale imitation of one of Fukada’s more grandiose melodramas.
Larry Fessenden’s film is a work of fascinatingly conflicted, far-reaching curiosity.
Venba traces the role of food in the life of an Indian family after they immigrate to Canada.
The series manages to make its 10 half-hour episodes feel much longer than they actually are.
Sympathy for the Devil knows what its audience is here for.
Given enough time, the horror genre subsumes all the trappings of childhood.
For developer Haemimont Games, the year 2001 is a statement of purpose.
Despite some improvements that streamline the storytelling, the series is still trying to do a little too much all at once.
The series doesn’t extrapolate on everything it has to say, but it nevertheless remains an intoxicating shot of imagination.