The flawless A/V transfer of Disney’s Blu-ray fully translates the film's aesthetic beauty.
Rogue One at least creates its own character dynamics and plot routes rather than coasts on existing ones.
The series finale of Kurt Sutter’s super-violent Shakespearean biker-gang saga represents a high-water mark.
Jax spends much of “Red Rose” trying to mend the bursted gangland seem that he was entirely responsible for opening.
It’s been a while since Sons of Anarchy has unleashed a parade of carnal images like the ones that begin “Faith and Despondency.”
Images fixated on agitation abound in the episode’s early stretch.
The episode merely bides time until the bloody series finale and leaving viewers in a state of disorientation.
Throughout, labels of race often express the long-gestating tension between different gangs, especially when there’s a drastic shift of power on the streets.
If it weren’t for all the bloodstains and gaping wounds, the eerie opening shot might seem like the beginning of a party sequence gone wrong.
For a few moments at the beginning of “Playing with Monsters,” Sons of Anarchy doesn’t take itself too seriously.
Cagey strategies occasionally play a role in taking out enemies foreign and domestic, but SAMCRO prefers all-out blitzkrieg.
The first two episodes of season five set up more antagonists, complications, and subplots than most shows would in an entire season.
Robin Swicord’s The Jane Austen Book Club is pitched as The First Wives Club for coffeehouse intellectuals.
It’s a faster, longer, taller Six Flags ride trying to outperform some dinky old thing from Coney Island.