When the series isn’t immersed in pulpy shenanigans, it aspires to be a sort of Bostonian The Wire.
Go back to the first episode of Luck and you’ll see how much is made of a little goat (known for his giant testicles) that hangs out in Turo’s barn.
Sopranos director Allen Coulter gives us a taste of what the darker Luck many of us had been wishing for might have been like.
As in creator David Milch’s previous HBO shows, one of Luck’s central themes concerns the building of a community.
There’s no getting around the fact that this week’s episode of Luck was overstuffed with exposition.
After the emotional high points reached in last week’s installment of Luck, it’s only natural that this week’s episode feels a bit like a come-down.
Milch-speak, as it’s referred to, is made more impenetrable in Luck than it is in his period-accurate Deadwood.
These horses aren’t just lucky talismans; they also possess a purity of spirit that rehabilitates many of the show’s jaded characters.
In Luck, the majestic thoroughbreds shine as they stand backlit by the sun.
Luck is a very dense, very slow, stealthily soulful series.
Like so much of Roadie, the main character’s emotional circumstances are obvious and uncomplicated.
Every scene is slowed to a crawl to emphasize the pounding doom, while the music ratchets the dread up even further.
Lymelife loads its thin running time with enough content for a film twice its length.
The open road and wide vistas in which city dwellers long to lose (and find) themselves have rarely looked sadder than in Wild Hogs.
There’s nothing to recommend about this DVD for daily-wheel dramedy Love in the Time of Money.
Well-made for a low-budget first feature, the film suffers from an overall slightness.