HBO’s The Gilded Age considers the social currents of the historical moment, alluringly cutting through the delusions of its aristocrats.
The series suggests that winning hearts and minds is a naïve pipe dream, a strategy more fit for TV than for electoral politics.
The film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
The film brings to mind the films of Philippe Garrel in its elliptical presentation of its characters’ lives, but Kees Van Oostrum’s genre experimentation aligns him with Paul Verhoeven.
This season seems to portend a tragic outcome for our beloved fundamentalists.
After watching the beginning of season four of Big Love, I think we can safely give up on ever having a premiere of this show that isn’t a busy and exhausting whirlwind.
Less a movie than a sociology thesis, Fragments follows a bunch of post-traumatic Los Angelenos after they’ve witnessed a shooting inside a diner.
Sensitive and well acted as this new Grey Gardens is, it feels like a wish-fulfillment fantasy that gives Little Edie a happy ending.
The season finales of Big Love often have a bit of an out-of-control feel to them.
Guest of Cindy Sherman is a fascinatingly flawed and balloon-headed study of an unlikely encounter with greatness.
No matter how devoted you are to your creed (be it religious or otherwise), you’re always going to let it down.
“Rough Edges” just plunges forward, pell-mell, not terribly concerned with if it makes a lot of sense.
He’s arguably the most important character in Big Love, even if we never directly see Him, even if we never are sure how He feels about the Henricksons.
Few shows on TV have as many scenes that feel like they should be dream sequences but actually turn out to be reality as Big Love does.
One of the best things about Big Love is that it’s decidedly agnostic about its purported protagonist.
The third season premiere episode of Big Love is, in many ways, a microcosm for the series itself.
The second season finale of Big Love tries to do so many things at once that it periodically flies off the rails
On the surface, everything is pristine and perfect.
Big Love is obsessed (sometimes too obsessed) with the notion that our public faces conflict with the faces we wear in in private.
The best scene in the episode is the one when Bill takes his wives to the casino to see exactly what he wants to purchase.