The primary model for Jared Moshe’s The Ballad of Lefty Brown is a particular strand of postwar western.
NBC’s Hannibal ran for three seasons, but its concept called for at least twice as many.
The episode is bug-fuck baroque even by Bryan Fuller’s incredibly accommodating standards, and the title is telling and apropos.
Repetition has inescapably set into this season’s Italian sojourn, which partially accounts for why last week’s superb American flashback episode felt so sharp.
It isn’t long before we feel like hostages ourselves, bound by the filmmakers’ strained moral outrage.
For a story so unconventional, it’s executed without director Alexandre Aja’s typical commitment to anarchic awe.
Content to faithfully hew to convention, the film rarely surprises, but its portrait of foolishness and fallibility, and its atmosphere of inevitable doom, remain sturdy and captivating.
A soothing lullaby for alpha-male viewers and survival buffs.
The River has a style unlike anything else on television, thanks to an ironclad devotion to its found-footage ethos.
It builds toward a great ending, which functions as one of the best, truest action climaxes in recent memory.
George A. Romero has disowned this film, but has he even seen it?
Formula-based horror hasn’t looked this good doing nothing but the basics in a while.
Amelia attempts the yeoman’s task of recounting a tale about which it has virtually nothing to say.
Filmmaker Carter Smith is going places, something which can’t be said about the characters in The Ruins.
Smith’s depiction of deteriorating-under-pressure group dynamics comes to an abrupt end just as it gets going.
Did Anton Corbijn shoot his load with his early work for Propaganda, David Sylvian, Echo and the Bunneymen, and Depeche Mode?
Julie Taymor is clearly trying hard to gussy up a screenplay that plays more like The Wonder Years without the cultural insight.
As if Jane Austen country hasn’t been charted to death already, Becoming Jane makes it literal.
Will there ever be a decent movie made about any part of Ludwig van Beethoven’s life?