There’s more to An Unexpected Journey than self-conscious nostalgia and fan pandering.
Each of these moments illustrates a slightly different shade of the films’ fluid realization of a complex visual, thematic, and emotional spectrum.
For all the anticipation and careful setup over the last several episodes, the show’s mid-season finale was somewhat anticlimactic.
The episode’s strongest moments are toward the end, when Rick takes a small team and heads off to Woodbury under Michonne’s lead.
Rick’s storyline is one of several in which characters strike up or rekindle a connection.
It makes better use of its quieter interludes than similar episodes and also offers a handful of isolated standout moments.
Ihe pre-credit sequence lends insight into how the episode amounts to a particularly poignant, if also problematic, entry in the show’s run.
The writers’ decision to limit this episode to Andrea and the Governor heightens the contrast between the two divergent plots.
This week’s episode pivots forward into more fruitful dramatic terrain than last week’s season premiere.
That Flight happily dwells within conventional boundaries can be frustrating given the raw and affecting potential of the material.
It suggests that the writing team has listened to everyone’s gripes about season two’s frequent and labored pontificating.
The ’80s were tough on James Bond.
Throughout, Michell and screenwriter Richard Nelson keep you at arm’s length from Franklin D. Roosevelt.
Joel Schumacher’s The Lost Boys is messy. Painful. Unhinged.
The following list is no doubt a statement about how I approach life.
At the center of all three of films is a deep tension regarding heroism and its tangible impact on the mass corruption infecting much of society’s institutions.
Jaws: The Revenge all-too-well articulates the emptiness of nostalgia for its own sake.
Some of cinema’s most awesome sights are those that envision our future.
Critics get a bad wrap for being “out of touch” with the masses, but Tomatometer listings indicate that critics have been surprisingly forgiving of superhero fare.
The screenwriters are savvy enough to acknowledge that audiences have moved on from Ethan Hunt and the IMF.