A macho celebration of fighting for “freedom” because someone else told you to, devoid of any acknowledgement of the irony of that ideology.
As immersive as it is overstuffed, The Knick’s season finale opens on the anxious face of the hospital’s secretly pregnant benefactor.
Director Steven Soderbergh’s gift for unfussily blocking The Knick’s scenes is made awesomely apparent in the opening.
The change in seasons is a terrifically smart maneuver, even if it allows for some fairly obvious hopscotching.
“Get the Rope” may mark the first time Soderbergh’s dazzling, inventive shooting style just can’t support the dramaturgy.
Director Steven Soderbergh’s handling of the meningitis case is both technically and dramatically virtuoso.
The Knickerbocker Hospital’s putative mission to help New York City’s neediest gets its most interesting stress test yet in “They Capture the Heat.”
“Where’s the Dignity?” doesn’t lack for drama or tension; it’s just much better stacked than its predecessors.
The Knick remains one hell of a panoramic contraption, and Clive Owen’s starring turn as Dr. John Thackery is one of the show’s major draws.
The lurking anti-subtlety of The Knick’s pilot picks right back up in “Mr. Paris Shoes.”
A decidedly 21st-century tension drives The Knick: the murky interstice between recorded and unrecorded history.
At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
Even a brief summary of the 1974-set film’s plot reveals a near-comical laundry list of recycled plot elements.
I hate to take the easy road and say that the designers of the poster thought outside of the box, but, hey, if the metaphor fits.
James Marsh perfectly matches his aesthetic strategies to the story’s shifting moral terrain.
Clive Owen should feel rather good about himself.
Gary McKendry’s Killer Elite is a throwback to an era when action movies still had balls.
Trust isn’t quite To Catch a Predator: The Feature Film, but it’s close.
Stars drop in and out with great frequency at the Abu Dhabi Film Festival.
A couple of brief but info-packed extras complement the Shine director’s latest weepy, true-life adaptation.