Ava DuVernay’s series is a handsomely mounted dramatization, but it often veers into the trite, obvious, and maudlin.
Netflix will release the series on May 31.
The gravity of Krystal’s situation is undermined at every turn by the filmmakers’ excessively broad, comedic strokes.
The rambling conversations and endless wandering through nature could let the film pass for a filler episode of Lost.
The Daniel Barnz film interestingly insists on the audience judging its main character, which places us in a potentially uneasy position.
Over the course of Desperate Housewives’s eight-year run, the behind-the-scenes drama has often threatened to overshadow the series itself.
The whimsy of Phoebe in Wonderland proves more grating than poignantly escapist.
This is a film that posits “I love you” as the quick-fix remedy for its characters’ myriad, deeply rooted grievances.
The pretty-ugly-pretty-ugly-pretty-ugly holographic slipcase cover is a laugh riot-it doesn’t evoke gender dysphoria, only a questionable marketing campaign.
Throughout, a convincingly distraught Felicity Huffman largely refuses to succumb to the film’s facileness.
The show wishes to say something profound about suburbia with its outmoded view of womanhood.
Here’s one for the red states.
As long as Cosmo girls exist, so will films like Raising Helen.
The film exists in a fantasy New York City no one has ever seen before.