A Wrinkle in Time’s by and large cramped worlds never look like anything other than animated projections.
Moonlight’s unlikely success hopefully implies that the world has yet to slide entirely down a rabbit hole of unbridled bigotry.
What tends to right Moonlight, even when Barry Jenkins’s style drifts into indulgence, is the strength of its actors.
The acting in Moonlight elevates the clichés of Barry Jenkins’s script into something approaching lived truth.
The chickens of gilded-era capitalism come to roost in as many configurations as are possible.
Just how soap-operatic are Soderbergh and writers Jack Amiel and Michael Begler willing to go?
This episode sees its characters ground up especially in the gears of their own patriarchal systems.
The Knick’s second season has seen Soderbergh turn his camera on different strains of pedagogy afforded by the turn-of-the-century milieu.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.
“Wonderful Surprises” is so over-stacked as to make each scene work purely as exposition.