In its final season, the series struggles to cook up something fresh, but it’s still hard to resist.
Having Esposito in the driver’s seat prevents the series from spinning out altogether.
The series squanders its initial intrigue with its plodding pace, repetitive structure, and cardboard writing.
Despite some clunky characterization, the series is an ambitious and inventive piece of sci-fi.
The series uses three distinct perspectives for a rumination on life and death.
The series builds something different on the sturdy foundation established by the film.
The series tells a story that might have worked just fine if it weren’t spread across six episodes.
The series recreates the military machinery of its World War II tale in exacting detail but struggles to bring its human stories to life.
The series is a thoughtful meditation on the simultaneously distortive and revelatory nature of the human memory.
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The series is charming, hair-raising, and heavy-handed in equal measure.
The AMC series is bookended by a heavy-handed setup and an unsatisfying ending.
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The anthology’s fourth season thrives on its ability to exist as both a brisk, thrilling genre piece and a weighty, philosophical drama.
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Largely missing is the coherent world-building and quicksilver pacing of the novels.
Kat Sadler and Lizzie Davidson’s series takes a look at mental illness dead in the eye with a daring grin.
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Luhrmann seems less interested in accurately depicting Australia’s ugly past than in creating a national myth.
The series offers flimsy comedy, half-baked characterizations, and a dubious romantic subplot.
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Aside from the moral dubiousness of converting dystopian fiction into reality-show spectacle, the series drags.
The series offers a surprisingly novel take on its source material, even if the pieces don’t fit together as neatly as they should.