The series has clearly been tailor-made for Stallone, playing to his particular brand of mealy-mouthed charisma.
The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
The film’s characters hardly possess a sense of a history or an interior life to adequately convey racism’s psychic toll.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
The film is less a revisionist take on the circumstances of John Gotti’s 1992 indictment than a tedious love child of Bonnie and Clyde and Goodfellas.
Even a brief summary of the 1974-set film’s plot reveals a near-comical laundry list of recycled plot elements.
The Wire has never reduced its stories to a soundbite and this season is no different.
The quartet of eighth-grade boys at the center of The Wire have their own way of dealing with bad police.
“Change the course” often means more of the same, only more of it.
Even the aging players have a settled sense of place.
Carcetti is keen to meddle, but knows what to leave be.
The cat-and-mouse isn’t much of a contest at this point.
Allying with rivals to thwart a third party is the cold calculus of the city’s politicians as well.
Marlo Stanfield has maneuvered to the top of the West Baltimore drug trade, and he’s executing a broad campaign to stay there.
The slippery slope of civilization is already in place on The Wire and Simon is just out to document how each and every person survives.
When Farrell and Foxx are in motion, they’re able to coast along on their charismatic movie star presences.
A hugely ambitious and hugely successful crime epic whose plot tentacles just keep on spreading, wonderfully so.
The best crime show out there, deserving of any and all hype.
There’s nothing to recommend about this DVD for daily-wheel dramedy Love in the Time of Money.