Arrow’s release gives viewers the opportunity to experience the original cut of Kelly’s freewheeling satire for the first time.
The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
Nonsensical characterizations abound throughout The House without ever dipping into unbridled absurdity.
A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
At once wonderfully complex and weirdly reductive—a formula, though, that seems as sound an embodiment of the human brain as any other.
The film relies on a bevy of spectacularly funny clips and a plethora of talking heads, most falling back on plaudits rather than sage insights.
The female characters on Mad Men are probably the show’s strongest asset, but here they’re hollow to the point of insult.
It’s chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
Believe it or not, we know exactly what’s going to happen at Sunday’s Golden Globe Awards.
Absent of humor and thrills, it’s also accented with designs and color schemes that are equally notable for their lack of risk.
These Academy members possess an elementary school understanding of art, where films operate in a purely denotative register.
Parks And Recreation doesn’t deal in jokes so much as memorable slogans that perfectly encapsulate character.
Flowery pop music makes a big push for your attention at the beginning and end of the film, and the scant extras are almost exclusively devoted to them.
Plunging below the grass line to capture a miniature world in precise detail, the film offers exactly what its title promises.
This is “the Al Pacino Dunkin’ Donuts commercial in Jack and Jill” as an actual movie.
Ushering in new, smartly written characters and sculpting them into real people is something the show has perfected in season four.
Despite ample proof to the contrary, Hoodwinked Too! Hood vs. Evil was not written by the punaholic Carrie Bradshaw.
The first six episodes of the third season display some of the sharpest writing currently on the air.
The story is so paper-thin one surmises it was scrawled on soggy toilet paper somewhere.
It’s now just a waiting game to see if this patchy episodic specimen can gradually move past its Office-inspired roots.