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.
Though the series is still bracingly audacious, season two too often opts for full-throated fan service.
The game creates a truly rare feeling of persistent uncertainty where anything can happen.
A head trip from the creators of Dark, the series follows far too many characters on a voyage to America.
Think of the game as a village-wide locked-room mystery.
The hot streak for Irish animation studio Cartoon Saloon cools with My Father’s Dragon.
The film ties itself into many knots as it chases the superficial sugar high of a big reveal.
Throughout, Pereda announces herself as a skilled manipulator of audience sympathies.
A Friend of the Family’s restraint allows it to sidestep some common pitfalls of many a true-crime drama.
The film doesn’t quite live up to its promising premise and handful of clever camera gimmicks.
There’s a propulsive, single-minded sense of purpose to the film’s commitment to gore.
Rather than feeling grounded in its everyday struggles, Entergalactic comes across more like a black hole of imagination.