Rather than add to a memorable canon of images, all visions of helplessness, this film simply replicates them.
On a whole, the new season manages to retain its depth and heart-wrenching warmth despite a sea change in its structure and characters.
At a particularly rundown corner of Almodóvar Boulevard and Tarantino Lane, you’ll find Women in Trouble.
The redistricting situation of a few episodes ago finally shows up again, as the proposition will be met with a vote from the board.
Not since HBO’s The Wire has a show juggled so many conflicting and diverse issues like race, money, and class with such staggering insight.
I’m a little divided about the new credits sequence, which adds a more explicitly jubilant note but also seems just a little too energetic.
I bet I know why you’re not watching, and I hope I can convince you to at least give it a shot.
The film probes man’s interior and interpersonal conflicts while menacing him with external supernatural forces.
It’s easy to see why Friday Night Lights would make someone nervous.
The only relief here is that Ed Burns doesn’t conclude the story with a group of sensitive men cathartically crying.