For a series meant to tackle thorny social issues and gender dynamics, Roar comes across as distressingly slight.
The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
Season three eschews the notion that there’s a single experience of the ’80s that should dominate above the others.
The film is defined by its straight-faced attachment to outmoded ideas about masculinity and law enforcement.
As the film becomes increasingly reliant on predictable narrative tropes, it evolves into the very thing it set out to parody.
The episode tells a story of a relationship tragically governed by imbalance of power.
Like many pilot episodes, the premiere of American Gods mows through a wealth of exposition.