Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
Brad Anderson’s Beirut shows how espionage might appeal to the sort of masochist who’s also an adrenaline addict.
It’s difficult to think of a film more out of step with the current culture than Eli Roth’s Death Wish remake.
It uses the mawkishness of a Hallmark Channel movie as an ironic backdrop for a twisted Hitchcockian thriller.
Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
The film makes everyone’s lives nothing but the blank spots in fate’s big book of Mad Libs.
Jason Reitman fails to take into account any of the positive endeavors enabled by social media, which will no doubt be used to promote and market his film.
Vince Gilligan and company subversively manipulate the familiar narrative contours of the crime melodrama.
A becoming narrative cleanness is settling into Breaking Bad as it nears its conclusion.
“Rabid Dog” explicitly broaches a question that Breaking Bad fans have probably been pondering for a while.
“Confessions” returns to the theme of the dangerous fragility of crushed American masculinity, the show’s grandest concern.
The episode is a beautiful collection of tense duets of varying configurations between the major players.
Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
“Blood Money” kicks off the second half of the final season with probably the most startling pre-title sequence in the show’s history.
Yet another tepid melodrama in which every creative decision appears to have been made in a trendy bid to appeal to the viewer’s crotch.
It's a worthwhile buy for fans, with terrific grain and an even better commentary track.
Get ready to dig your fingernails into your palms all over again.