Though The House is handsomely made, the anthology series as a whole lacks a sturdy foundation.
After a while, writer-director Iuli Gerbase’s boldly mundane take on forced isolation gives way to a regular sort of mundanity.
The film is a thoughtful examination of the human desire for it and the accompanying hope that it may exorcise the emptiness we feel.
For all of its sense of genuine, thrilling speed in its mechanics, Solar Ash fails to muster any sense of accompanying narrative momentum.
Netflix’s live-action Cowboy Bebop feels more cartoonish than the anime that spawned it.
Lost Judgment feels like a genuine alternative to the Yakuza games of yore, albeit one that’s still reluctant to leave its comfort zone.
Chucky walks a fascinating tonal tightrope as a funny, absurd series that engenders sympathy as well as shock.
The game often lets its stylistic tics drag the experience into varying degrees of frustration.
Because the atmosphere encompasses so much of Sable’s appeal, the technical issues can be absolutely ruinous.
The film capsizes in the absence of a compelling center for Mélanie Laurent to hang her directorial panache.
B.J. Novak’s The Premise seems self-consciously engineered for profundity and stark provocation.
We Need to Do Something mainly succeeds at suggesting a more compelling film beyond its bathroom walls.
Without sacrificing its sense of kooky humor, the game freely engages with the darker and sadder facets of its premise.
Netflix’s Brand New Cherry Flavor suggests that ambition makes monsters.
The game’s initial familiarity and rigidity belie a world of intricate and formidable imagination.
Reservation Dogs captures a feeling more successfully than it develops its characters, but there’s a power to its aimlessness.
As a tense, twisting mystery through a handsomely realized, historically accurate time and place, The Forgotten City is impressive.
Every story hurriedly resolves itself, foregoing tidy lessons or ironic endings but still lacking a sense of lived-in authenticity.
If nothing else, Peacock’s Dr. Death has been smartly calibrated for its intended audience.
The series alternates between internal reflection and bizarre comedy, one impossible to imagine without the other.