Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
It proffers the sort of cinematic nowhere place that’s all too common of an increasingly corporate, globalized cinema.
Just how soap-operatic are Soderbergh and writers Jack Amiel and Michael Begler willing to go?
This episode sees its characters ground up especially in the gears of their own patriarchal systems.
The Knick’s second season has seen Soderbergh turn his camera on different strains of pedagogy afforded by the turn-of-the-century milieu.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.
A clear effort is being made by Jack Amiel, Michael Begler, and Steven Soderbergh to make the new season as dense as possible.
The Knick is such a well-constructed series that the characters’ dialogue can’t help but reveal one prejudice thrown at the expense of another
Only rarely does Steven Spielberg observe how queasily at odds our patriotism is with our humanity.
One of the most exciting new shows on television, and HBO’s Blu-ray captures its exceptional visual and audio design with near-perfection.
Director Steven Soderbergh’s gift for unfussily blocking The Knick’s scenes is made awesomely apparent in the opening.
The change in seasons is a terrifically smart maneuver, even if it allows for some fairly obvious hopscotching.
“Get the Rope” may mark the first time Soderbergh’s dazzling, inventive shooting style just can’t support the dramaturgy.
Director Steven Soderbergh’s handling of the meningitis case is both technically and dramatically virtuoso.
The lurking anti-subtlety of The Knick’s pilot picks right back up in “Mr. Paris Shoes.”
A decidedly 21st-century tension drives The Knick: the murky interstice between recorded and unrecorded history.
Enough can’t be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener’s latest articulation of white suburban anxieties.