Jon Favreau’s film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
If only we lived in a world where production values counted for everything, Boardwalk Empire would be some kind of masterpiece.
Lost in the music, mustaches, and furniture of the early ’70s, this docudrama of a porn star’s exploitation isn’t nearly painful enough.
Whether intentional or not, the lives of the secondary characters are underdeveloped, often siphoned away by Jasmine’s all-encompassing presence.
Following its usual method of diagrammatically charting characters’ rises and falls, the third season opens with nearly everyone in flux.
Nurse Jackie is still a collection of strong performances in search of a worthy show.
Like so much of Roadie, the main character’s emotional circumstances are obvious and uncomplicated.
Win Win’s best qualities are of the kind that tend to go unnoticed.
The film just barely balances its everyone-learns-something uplift with ragged emotional dynamics and unexpected humor.
Eventually the interviews open out beyond these rigidly structured segments, seeping over into the territory of the characters’ daily lives.
Rarely do the gods of network television grant second chances, but ABC’s heart seemed somewhat struck by its 1998 series Cupid.
The film is uninterested in developing one of these characters beyond a near-silent abstraction.
No gay jokes, but the fat and ugly get thrown under the bus in ways unseen since About Schmidt.
Its stumbling and bumbling makes the Cubs’s century-long ineptitude seem charming by comparison.
Saying The Promotion’s tone is all wrong would imply that it had a tone to begin with.
The characters in John Turturro’s directorial efforts have a yen for treating choleric fits like arias.
Dedication at least deploys the darling chemistry between Billy Crudup and Mandy Moore to good effect.
David Wain and Ken Marino’s The Ten is as tonally divergent as possible from Krzysztof Kieślowski’s The Dekalog.
The only thing the extras on this disc do not address is how the hype surrounding this horrible picture failed to translate into box dollars.
Richard Linklater does an admirable job of shoehorning in as much of the sprawling nonfiction narrative as he can.