It appears that Sons of Anarchy is going down in the same manner it started: as a tragedy of Shakespearean proportions.
Uli Edel’s miniseries comes across as a mere cataloguing of the magician’s exploits rather than an actual inquiry into the man.
Though many have focused on The Final Frontier’s failings, the truth is that it has many virtues as well.
Coppola’s ambition had always been his best friend and worst enemy.
They’re also unassailable in their perfection, and could easily fall at the top of any all-time best list arrived at by consensus.
Go back to the first episode of Luck and you’ll see how much is made of a little goat (known for his giant testicles) that hangs out in Turo’s barn.
Sopranos director Allen Coulter gives us a taste of what the darker Luck many of us had been wishing for might have been like.
As in creator David Milch’s previous HBO shows, one of Luck’s central themes concerns the building of a community.
There’s no getting around the fact that this week’s episode of Luck was overstuffed with exposition.
After the emotional high points reached in last week’s installment of Luck, it’s only natural that this week’s episode feels a bit like a come-down.
Milch-speak, as it’s referred to, is made more impenetrable in Luck than it is in his period-accurate Deadwood.
These horses aren’t just lucky talismans; they also possess a purity of spirit that rehabilitates many of the show’s jaded characters.
It’s in this episode where one is first able to grasp how the different permutations of fortune have washed the show’s ensemble ashore.
In Luck, the majestic thoroughbreds shine as they stand backlit by the sun.
The most chilling thing about Mann and Brian Cox’s version of Lecktor is his verisimilitude.
Yesterday’s mid-season finale could prove to be a make or break moment for the remaining fans that have hung in there for Caprica.
It’s a brief quiet moment before the next two episodes, what I expect shall be a far noisier wrap-up to the first half of Caprica’s season.
No, I didn’t give up after my misgivings with “Gravedancing.”
“Gravedancing” squanders the dramatic potential set up by the last episode’s conclusion.
Battlestar Galactica and Caprica’s creative force Ronald D. Moore takes the directing reins with this episode, and one can feel the dynamic really begining to jell.