Polished and perceptive though it can often be, the series only really scratches the surface level of its own potential.
The limited series competently, if not always vibrantly, explores the delicate relationship between criminality and culpability.
The series is patient enough to let us understand its central character’s trauma, but it doesn’t make us to wallow in it.
The series leans into the absurdity of trying to find creative expression in an industry that’s in a perpetual state of reinvention.
The limited series, directed by Danny Boyle, invariably captures the fervent vibe of these oversexed, under-prepared rockers.
Blending the mundane with the macabre, the true-crime series prefers to examine how lives are lived rather than how a life was lost.
The Man Who Fell to Earth fails to recognize the key to the power of its source material: its peculiarity.
In its long-awaited third season, HBO’s Barry is as assured and morosely hilarious as ever.
In its final season, Better Things continues to explore all the messy and meaningful ways that women reevaluate and rediscover themselves.
Thanks to its smart, sophisticated direction and sharp performances, Apple TV+’s Severance mercifully doesn’t feel like work.
Netflix’s The Woman in the House Across the Street… is a lukewarm lark that could afford to be wackier and weirder.
The Righteous Gemstones showcases a depth and maturity by spending more time excavating its evangelical empire.
Station Eleven often wrestles with the very nature of entertainment in a time of natural and economic devastation.