A dour and withholding character study, Michel Franco’s film invites more questions than it’s willing to answer.
While its offhandedness continues to lend it a sort of sloppy charm, it also betrays the show’s fear of its own inherent weirdness.
A Ketel One ad that just won’t quit, or Bellflower for people whose Blackberry is a vital organ.
Grimm borrows liberally from its spiritual predecessor, co-creator David Greenblatt’s Angel, to the point of derivativeness..