The film’s weighing of individual right to life against global survival isn’t an easy exchange.
Matrix Resurrections is the most personal, vision-driven blockbuster of its era, and Warner’s 4K disc maximizes its unorthodox beauty.
The cunning narrative arc of Lana Wachowski’s film is one of renewal in the face of rebooting.
The show offers testimony to the power of communal storytelling, just as mighty on screen as on stage.
Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
The show’s second season reveals the intricate intersections between personal and political neuroses.
Mindhunter understands that words are ultimately an extension of the role play that defines our lives.
“How do we get ahead of crazy if we don’t know how crazy thinks?”
The season finale of Looking culminates in a single, extended take, perhaps three minutes in all, at the end of a lovers’ quarrel.
It’s here, in “Looking for Sanctuary,” that the series finally admits to a certain cyclicality.
An episode in which each character’s evolution this season begins to upset the balance they’ve clung to through years of stasis.
Though Looking is a series rightly known for its rather frank discussions and depictions of sex, it’s also finely attuned to the rhythms of friendship.
Patrick’s self-immolation is no suicide, and the episode is no Mrs. Dalloway.
It has the feeling of a first date, but ends with a reckoning, run through with the conviction that we can never really leave the past behind us.
In what amounts to something of a departure for Looking, the episode picks up where “Looking Top to Bottom” left off.
Tops, bottoms, douches, enemas, rim jobs, “hot shower orgies,” and even a swinging dick or two.
Director Andrew Haigh and writer Michael Lannan present a suggestive exchange of stories that feels both familiar and remarkably specific.
Full disclosure: I am, to paraphrase that old Sex in the City parlor game, such a Patrick.
It may seem quotidian compared to the current requirements of the weekly series format, but its attention to detail isn’t given nearly enough credit.
It’s about breaking out of tired routines, which makes its disinterest in depicting new sides of common struggles so disappointing.