The series offers a surprisingly novel take on its source material, even if the pieces don’t fit together as neatly as they should.
Operation Fortune: Ruse de Guerre Review: Guy Ritchie’s Spy Caper Is an Unconvincing Ruse
Operation Fortune proceeds as a rote run-through of stock spy-film scenarios.
Mike White’s series remains TV’s most intriguing and precise murder mystery-cum-social satire.
Cleansed of all risk and personality, the film subsides, as though with a sigh, into the reheated sauce of mediocrity.
Most of the show’s best moments come when it leans into its hellish premise and plumbs the depths of its own depravity.
The film is at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
Shot through with darkly existentialist humor, the film finds Aubrey Plaza throwing a gauntlet to filmmakers who have typecast her in the past.
The film translates the often difficult realities of a specific kind of marginalized love into a story with broad appeal.
By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain.
A remake of Child’s Play, starring Aubrey Plaza and Brian Tyree Henry, is now in the can and coming to a theater near you.
Hosking’s film is one of those absurdist boutique comedies that pushes against the definition of a punchline.
Among other things, Plaza spoke to us about how having a stroke at age 20 has informed her work.
The film is indebted to Alexander Payne’s social comedies, which dwell in the backwash of the American dream.
The cast informs their non sequiturs with such soulfulness, allowing the film to largely sustain its one-joke premise.
Gunpowder & Sky has released a safe-for-work green band trailer for the Jeff Baena film.
The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.
Much like with Neighbors 2, Mike and Dave’s obvious ace in the hole is its commitment to gender parity.
The film emerges as something chillingly akin to the unholy love child of Judd Apatow and Donald Trump.
The film’s larger points essentially fall by the wayside in the name of black comedy that’s largely without genuine edge.
As characters digress on the differences between rom-coms and real life, it evinces a schizophrenic relationship with its own inside-baseball cynicism.