Antonia Bird’s Ravenous is an exciting, new kind of gothic horror film.
The episode plays less like an individual segment of the show and more like a long prelude to the two-hour finale.
The more we get to know the people who are behind the scenes on Lost, the more we realize just how much our point-of-view characters are looking in on a battle they will never really understand.
Father issues are to the Lost flashback what cancer is to a diagnosis on House.
Michael Emerson maybe has the trickiest part to play on Lost.
One of the more enervating things about Lost is the way that it will occasionally mistake name checking, say, a famous philosopher for depth.
One of the things that makes “Namaste” so much fun is the way it convolutes itself within the timeline we’ve already seen.
Let us now sing the praises of Josh Holloway and Elizabeth Mitchell.
It almost feels silly to complain about how overstuffed an episode was when all of the stuff going into it was as compelling as what happened in “This Place Is Death.”
There’s a deal we make, we Lost fans and appreciators.
An anorexic premise could’ve been a great and unusual disaster film if only Twister had taken the courage to keep everything pared down.
Twister is so 1990s it hurts.
Two months after the crash of Oceanic 815, all aboard are found dead in the wreckage in a deep trench near Bali. Or not.
With Lost’s fourth season running only eight episodes, any rescue looks unlikely.
It’s all about love.
Like his obsessed heroes, Werner Herzog continues to hear the call of the jungle.
Fans of the film will want to opt for the Nordisk Region 2 disc, which boasts better image quality and actual extras.
The Brechtian formalism that stirred the more ambiguous Dogville’s philosophical inquisitions is put to uninspired use in Manderlay.
Dogville is less anti-American than it is, quite simply, anti-oppression.
Now, if someone could figure out a way to grind the disc into tablet form, insomniacs without DVD players can rejoice as well.