The series is decidedly unambitious and ends before it ever really gets off the ground.
While the miniseries is mesmerizing to take in, beneath its aesthetic splendor lie vast, unplumbed depths.
These 25 Netflix original shows prove the marathon-watching juggernaut’s equal concern for both quantity and quality.
The show’s violence is a reflection of its characters’ existence, a cycle from which there’s no escape.
The show’s fundamental goal isn’t to present love that’s unique to the current moment, but to expose the universality of its stories.
The series never shies away from the pleasures and perversities of incipient sexuality.
The series nearly approaches farce as its shocking developments pile up, defying reality and credulity.
You can feel Fox’s new animated series figuring itself out in its first episode.
The series bottles the original’s pulpy spirit and atmosphere for an irresistibly macabre package.
The series is both beautiful and inventive, even if it uses the mental health of its protagonist as a story hook.
The show’s third and final season struggles to consistently build gripping stories for its vivid characters to inhabit.
The series feels like a vehicle built merely to convey the information dug up by its progenitors.
The show’s second season reveals the intricate intersections between personal and political neuroses.
The show’s myriad absurdities are resonant reminders of how tough it is to get lost in the labyrinth of capitalism.
The series is a genre patchwork whose individual elements fail to coalesce into a coherent whole.
The series demystifies the billionaire class while simultaneously painting a terrifying picture of their unstoppable momentum.
The series is a compelling and humanizing study of its characters, the faith they profess, and the world they strive to proselytize.
The series is striking not only for its scope, but for how uncompromising it is.
In its third season, the series weaves social critique into its narrative with a newfound subtlety.
The miniseries is a cautionary tale of how ballooning a story’s size doesn’t inherently improve its telling.