The deeper that Chance delves into psychosis, the harder it is for audiences to pull away.
It typifies American politics with a brand of acidic cynicism that yields big laughs and increasingly unlikable characters.
The miniseries sells a romantic view of comeuppance, draining John le Carré’s writing of its wryness and bureaucratic specificity.
In the film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.
Gamers appear to be ready for developer ambition when it comes to not just the quality of the games, but how to play them.
Didn’t It Rain is filled with straight-faced American blues with a tilt toward the Crescent City.
The Oranges is a wasteful study of the white and privileged with their neck hair standing on end.
This yuletide fable that boasts Aardman Animation’s peerless mix of whip-smart comedy and cheery heart.
Throughout its arduous and prosaic narrative, Hop only shows momentary glimmers of life.
Monsters vs. Aliens races about in search of the next witty zinger and for-adults-only pop-culture reference.
The film is an ungainly and fetid but seldom dull mishmash of ’70s Eastwood, Lethal Weapon, and a high-octane Serpico.
Dr. Gregory House returns for a third season in the show that bears his name and, at first, he’s surprisingly less of a curmudgeon.
The women of Deadwood are passionate, fully realized human beings.
Valiant is the DVD of the year for parents who hate their children.
The slapdash construction and narrative inconsistencies aren’t nearly as damaging to the film as the mediocrity of its animation.
Flight of the Phoenix is remarkably loyal to the Robert Aldrich’s 1965 action yarn of the same name, if only in plot.
Rob Minkoff creates an unmistakably adorable, storybook tableau from his colorful use mise-en-scène and symmetrical compositions.