The film is noteworthy for its rumination on the subtle costs of its characters’ newfound prosperity.
All the palace intrigue and endless backstabbing in Mary Queen of Scots feels at once overly familiar and underdeveloped.
Any potential subtext of Munro Leaf’s children’s book has been bleached out in the marketplace-oriented Ferdinand.
Jessica Jones is a far more socially aware series than Netflix’s Daredevil, but it lacks for its predecessor’s consistent, enveloping style.
The underlying, redundant, and underwhelming theme of the film is the pursuit of family unity at all costs.
Another entry into the “small-town murder unravels the ties that bind the town together” tale that fails to bring anything new to the genre.
“The Time of the Doctor” is the third in a loose trilogy of Doctor Who episodes focused explicitly on the title character.
An episode made to commemorate a series reaching its golden anniversary could be forgiven for merely being an excuse for a party.
The 2009 BBC recording of Hamlet (based on a 2008 RSC stage production, using the same director and same cast) also gives a poignancy to the text that I’ve rarely seen, in addition to its typical verbal wizardry.
With “The End of Time,” the Doctor Who careers of two giants of the show—star David Tennant and head writer and executive producer Russell T Davies—reach their conclusion.
David Tennant’s long goodbye to Doctor Who enters its final stretch with “The Waters of Mars.”
Writing about the fourth Doctor Who Christmas Special is, admittedly, about as much fun as sitting down to eat a bowl of shredded wheat.
At some point the Season Four finale of Doctor Who, “Journey’s End,” will stand on its own.
“The Stolen Earth” is a wonderful and sometimes frustrating episode.