Totally Killer has a lot of fun poking at the tricks and tropes of slasher movies.
The series takes itself a touch too seriously to succeed as a farce but draws its characters too broadly to achieve any real pathos.
It exhibits a committed understanding of the cinematic value of silence and of underpopulated compositions.
The title of last night’s episode of Mad Men comes from a handbook for hobos written by Nels Anderson.
Matthew Weiner and company make a point of echoing Cutler’s flippantly opportunistic nature twice over before the episode concludes.
Showrunner Matthew Weiner and company crafted an episode riddled with allusions to business as a love affair.
This season’s journey toward the final act of Mad Men’s American epic promises to be its most challenging and rewarding.
Lionsgate put every ounce of effort and care into serving up the fifth round of cable TV’s stiffest drink.
Don is a character that allows us to safely indulge, with little in the way of moral inconvenience, our vicarious inner amoral shark.
As it turns out, this low-profile episode is an apt distillation of a largely low-profile season.
Some Mad Men episode titles are more difficult to decipher than others.
As usual, it’s Pete who is most eager to prove that the need to consume crosses all social barriers.
In this episode we watch both Don and Roger humiliate themselves, yet for seemingly opposite reasons.
Season four of Mad Men begins by reminding us that the heart of the show will always remain the same.
Mad Men continues to hit its stride most indelibly while rendering the off-kilter uneasiness of transition.
The idea of attacking your opponent’s biggest strength head on is an old one.
The episode wants us to ponder the theme of parents and their children and the various ways both groups disappoint each other.
Everybody in the episode is performing on one level or another.