Everything about S.J. Clarkson’s Madame Web reeks of cynicism.
The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
Alice Waddington’s sci-fi fantasy never finds a cohesive story wrapper for its themes.
It exhibits a committed understanding of the cinematic value of silence and of underpopulated compositions.
Justin Kelly’s film is more interested in rushing through the narrative’s events than contemplating their environment.
For a while, Nerve maintains an air of ambiguity about its provocative and somewhat dystopian conceit.
The film displays little ability to utilize Ashby’s violent actions for means other than high-concept fodder and out-of-place bloodshed.
Freak Show helps to confirm an unofficial rule about the series at large: The more a season actively utilizes its chosen setting, the better it is.
“Orphans” finds Freak Show taking a surprisingly earnest detour from its usual preachy, ultra-violently “relevant” shenanigans.
A redux of Myth of the American Sleepover, an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
The title of the film is a pretty obvious double entendre, but it does efficiently convey the good intentions behind this scattershot production.
“The Seven Wonders” finds Coven largely tending, predictably for the most part, to a final bit of plot bookkeeping.
The penultimate episode of Coven finds the series still desperately scrambling to introduce busy conceits.
It’s fair to say that Coven has evolved in a fashion opposite to that of the prior Asylum.
“The Sacred Taking” finds the show’s variables nearly, but not quite, cohering into a grand narrative arc.
Straight males may have found themselves in the position of actively envying two dead men while watching this week’s episode.
In this week’s episode of Coven, an elegantly interlocking series of plot turns suggests a major character’s undoing.
This week’s episode of Coven is ideally timed to remind us that Halloween was once a dangerous pagan event.
There’s a moment late in “The Replacements” that indirectly addresses a curiosity I’d already had in regard to Coven.
It finds creators Ryan Murphy and Brad Falchuk settling into a relative groove after bursting furiously out of the gates last week.