There are only clichés in the rise-and-fall material of Kasi Lemmons’s biopic.
The Man Who Fell to Earth fails to recognize the key to the power of its source material: its peculiarity.
Criterion’s Blu-ray release of Neil Jordan’s Mona Lisa offers a superb upgrade on the A/V front and a few new extras to boot.
Come Away can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
Lost in so much bombast is the kind of story about its main characters’ lives that could’ve affirmed Spike Lee’s critique of America.
The series underlines the loss of creativity and boldness that marks the transition from childhood to adulthood.
Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
The film is a cynical critique of American foreign policy wrapped up in an uncluttered narrative that thrives on pulpy thrills.
Unwitting transformation is on display throughout the season finale of The Deuce.
The film has a tendency to embrace the action genre’s more obnoxious elements, but there’s a proudly no-nonsense air to its nonsensicality.
In the Nicholas Sparks universe, love always conquers, and anyone who stands in its way doesn’t just lose. They die.
Life pours out of Treme and, like all good things, the series ends with equal parts rage and love in its bombastic heart.
The A/V transfer and director’s commentary are worthy of sincere, ecstatic praise.
In its third season, Treme has become so adept at blending character-based drama with its overarching themes.
The film mostly feels like a series of vignettes where the focus is a boy’s evolving sense of community, faith, and family.
HBO gives the superb second season of David Simon and Eric Overmyer’s post-Katrina drama an excellent transfer.
It takes a little time to get used to the sprawling scope and the blocky dialogue of Red Hook Summer.
The show is as much a celebration of New Orleans’s spirit as it is a depiction of the struggle to keep that spirit afloat.
Treme’s deeply humane treatment of a communal tragedy, not a national one, quite simply blows the doors off the place.
By the third episode, the show has developed so much character that even simple glances are steeped in meaning.