The show’s second season plays with structure and tone to explore the violence that shapes its characters’ lives.
The film frustratingly shrouds Cage’s manic intensity in thick blankets of winking irony.
The Afterparty attempts a deceptively tricky balancing act between murder mystery and comedy.
The series informs sitcom hijinks with a bit of political tension, but the punchlines are diluted for the sake of likability.
Throughout, any and all subtext is buried under the weight of Jim Carrey’s mugging.
Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs.
Lynn Shelton’s film firmly resists supplying its main characters with easy, you-can-have-it-all answers.
Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
In order to make the walk, and in order for it to matter to him, Philippe Petit has to comprehend it as real and impossible.
And the jury’s still very much out over whether Shawn Levy is an inept comedy director masquerading as an opportunistically dramatic one, or vice versa.
House of Lies is as brash and cocky as the management consultants it follows; it’s also filled with just as much bullshit.
The newest no-good, scumbucket-of-an-antihero on cable TV is House of Lies’s Marty Kaan.
Ushering in new, smartly written characters and sculpting them into real people is something the show has perfected in season four.
Focusing on the fallout from a tell-all novel, Peep World itself feels like a bad literary adaptation.
Luckily, stars Boris Kodjoe and Gugu Mbatha-Raw have more than enough charisma to spare and that’s about 90% of what makes TV tick.