There’s an elegiac beauty to the film’s pool scenes, but everything that surrounds them is leaden.
We’re having a lot of déjà vu this year.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
Miles Joris-Peyrafitte’s film ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
This Must Be the Place believes in maturity, but only as a freely continual process of acceptance.
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.
It’s in this episode where one is first able to grasp how the different permutations of fortune have washed the show’s ensemble ashore.
Luck is a very dense, very slow, stealthily soulful series.
In The Last Station, four dimly imagined characters act out the drama surrounding the final days in the life of Leo Tolstoy.
What seemed so promising at the end of Rome’s last season seems to have lost its way in these new episodes.
Mercifully, with so much going on in the script, the series takes a decidedly simpler tack with its visuals.
Here’s an irresistible pulp fantasy premise that screams drive-in classic.