NBC’s Hannibal ran for three seasons, but its concept called for at least twice as many.
Hannibal’s wildly variant, ambitious, possibly final season is sent off in style with a surprisingly thorough home-video package.
Guy Maddin’s indulgence in esoterica paradoxically leaves the film most vulnerable to the beating heart of this great artist of self-therapy.
Like Lynch before him, Fuller has shined a light over TV’s capacity for eccentric, follow-thy-master poignancy.
The dialogue is as polished, overheated, and savory as one can routinely expect from creator Bryan Fuller.
The romantic subtext is the central emotional motor of the series, what keeps it from collapsing into absurdity.
There’s quite a bit of accomplished, bitchy verbal game-playing in this marvelous high point of an episode.
The episode is bug-fuck baroque even by Bryan Fuller’s incredibly accommodating standards, and the title is telling and apropos.
This is an unusually plot-driven episode of Hannibal that nevertheless maintains its surreal, mood-centric aura of erotic dread.
More incisively and ambitiously written than the last season, and sporting the most radically expressive imagery currently on television.
The tetchy band of thirtysomethings’ interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
For its authentic engagement with despair, Hannibal is a great, epic vision of American horror that earns its wrenching nihilism.
It’s set in a horror realm we might imagine when we indulge our worst fears of the hideous forms the civilized world is capable of assuming.
Wrecked is a hollow genre variation on 127 Hours.
The bonus features are lacking, but The Pacific looks and sounds as impressive as any Blu-ray you’re likely to see.
The instinct to beat up on Devil sight unseen is because M. Night Shyamalan’s name is now synonymous with cheap third-act twists.
Ultimately, what a series like this aims to do is to pay homage to the Marines who sacrificed their lives.
Breach confirms that Ray isn’t a great visualist but an impressive actor’s director.
Breach is good enough to give you a whiff of the more complex film that might have been.
The best thing that can be said about Breach is that it isn’t directed by Tony Scott.