Ben Wheatley’s film has a more thoughtful underpinning than your average 87Eleven joint.
Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
Like its characters, the show’s fourth season is trying to find a mellower way of being.
The only variety here is in the velocity and volume of the men’s anger.
Throughout, Drew lampoons comedy institutions as freely as she does superhero hegemony.
The show’s second season is structured less around storylines than around feelings.
Like its bristly protagonist, the series has some work to do to turn things around.
The film could aim with a bit more precision at the price of its characters’ evident comfort.
Nuanced dilemmas quickly fade into the background as Undone adopts a more straightforward format in its second season.
The film offers chaos by the yard with no real stakes or emotional reverberations.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
The series is both beautiful and inventive, even if it uses the mental health of its protagonist as a story hook.
As it proceeds toward its telegraphed rom-com ending, the film becomes just more empty rhetoric, an ineffectual reiteration.
Incredibles 2 primarily concerns male anxiety about women taking over traditionally masculine roles.
No American film since Zodiac has exhibited such a love for the way information travels than The Post.
We have no doubt that we’ll be miffed by how some of these categories shake out on Sunday night.
The series rests on Bob Odenkirk, a gifted comedian and character actor who’s never before had the opportunity to occupy the center ring.
Alexander Payne’s overview of America is extraordinarily, multifariously profound.
“Rabid Dog” explicitly broaches a question that Breaking Bad fans have probably been pondering for a while.
“Confessions” returns to the theme of the dangerous fragility of crushed American masculinity, the show’s grandest concern.