For better and worse, Amnesia: The Bunker is an intense game of resource management.
The film’s supernatural flourishes take a backseat to a conflict of a much more mortal variety.
Thrilling and cheesy in equal measure, the series breezes toward its finish as a particularly well-oiled drama.
Nothing we see here matters because it’s all been made up for puzzle-solving.
For as prevalent as the combat is in this System Shock, it never quite gels.
Redfall features none of the variety to support its bloated length.
The initial narrative groundwork that’s laid out is intriguing, but rumblings of societal discontent receive mere lip service.
Country Gold never loses its grip on the interior lives to its characters.
There’s a riveting story somewhere here about the crumbling of the Soviet Union and the stranglehold of capitalism on ’80s culture, but Tetris never quite locates it.
Storyteller’s breezy style comes at the cost of any real complexity.
Only sporadically does the series explore the absurdity of transposing online interactions to the physical realm.
The show’s second season may be watchable, but it’s so much louder about saying so much less.
For 129 minutes, the defaults to the most pedestrian narrative turns imaginable.
In its rush for buzzy, batshit absurdity, the Amazon series neglects to establish any semblance of normalcy to play against.
Bairéad’s first fiction feature is a work of rapturous emotional depth.
The closer the series gets to its destination, the more it invites skepticism of whether there’s really much there at all.
Consecration ends up not just gimmicky but derivative of Christopher Smith’s own prior work.
Clay Tatum’s film is wholly and refreshingly uninterested in tugging at the heartstrings.
The series gives Natasha Lyonne room to rasp and shamble her way through murder mysteries populated by a murderers’ row of guest stars.
Colossal Cave would have felt antiquated even if it came out 20 years ago.