The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.
Robert Schwentke proves to be too complicit with his protagonist, regarding evil and human banality as stimulation.
The season finale of Homeland lingers almost uncomfortably long on the survivors.
Homeland falters when it focuses on the contrivances of its big-picture plotting, but they lead “New Normal” to a powerful ending.
Homeland is too wrapped up in its own allure to deliver on the story it started to tell in previous weeks.
Carrie’s been alone this whole season, and both literally and figuratively, has no super power to fall back on.
Homeland is firing on all cylinders when it focuses on what all of this endless terrorism means to the individual players, particularly Carrie.
Like the excellent fourth season of Homeland, season five suggests a politically wise and deeply skeptical update of John le Carré‘s very best spy-centric work.
It only scratches the surface of the mass psychological wounds and trauma that the Frankfurt Auschwitz trials unleashed on the Germany psyche.
Seldom pushes beyond the bare-minimum dictates of the thriller, only rarely offering up a memorable action sequence.
The film is so caught up in its own romantic notions that it never bothers to question the validity of these ideas.
Storm effectively builds its moral and political investigation into the fabric of its central court case.