Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
The series often suggests a more ensemble-oriented epilogue to The Graduate.
With Never Go Back, the Jack Reacher franchise is beginning to suggest NCIS remade on the big screen.
Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
It suggests that Kris Swanberg has taken notes on what a film concerned with pregnancy should include without actually making it.
It seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating interpersonal connections.
Joss Whedon’s film struggles against the rigid formula that typifies the Marvel universe, but only does so up to a point.
It’s chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
Enhanced picture, enhanced sound, enhanced film: The Avengers feels like it’s truly in its element on the small screen.
Joss Whedon—to some, the standard-bearer for fanboy culture—is a strong, classical stylist in the tradition of Joe Dante, John Landis, and Steven Spielberg.
Slammin’ Salmon finds Broken Lizard’s approach calcifying into convention.
How I Met Your Mother is a sterling example of the hybrid sitcom.