For a while, the performances are nuanced enough to distract from the film’s implausibilities.
The film’s overtly non-specific title mostly just reflects the story’s lack of definable character.
If the movie has the ring of a high school or college reunion, that’s because that’s pretty much what it’s like.
The film is a rallying cry against a suffocating patriarchy that rapes its servants and disenfranchises its daughters.
It typifies Fincher’s style while pushing him in new creative directions, and the minimally loaded BD wisely leaves the film open for spirited debate.
There’s a comic streak to the film that suggests David Fincher may understand the material as trash, but it’s the kind of affectation that only reinforces its insults.
Life pours out of Treme and, like all good things, the series ends with equal parts rage and love in its bombastic heart.
Alternates between business-world morality play, family drama, and portrait of a local community without ever comfortably integrating these disparate elements into his messy stew.
In its third season, Treme has become so adept at blending character-based drama with its overarching themes.
HBO gives the superb second season of David Simon and Eric Overmyer’s post-Katrina drama an excellent transfer.
The show is as much a celebration of New Orleans’s spirit as it is a depiction of the struggle to keep that spirit afloat.
Treme’s deeply humane treatment of a communal tragedy, not a national one, quite simply blows the doors off the place.
By the third episode, the show has developed so much character that even simple glances are steeped in meaning.
Since there’s no doubt that a beefier DVD package of The Blind Side is on the way, it’s easy to write off this barebones release as a shameless cash-in.
The movie’s title could easily refer to an audience unaware of its prejudices.
What is the formula that drives most TV series but a pleasant form of inevitability.
Red exudes a distinct ’70s Southern-exploitation vibe.
Totally twee, but Archer seems to understand his talent as he does his main character: a work-in-progress.
A common knock against Lost is how much of a boy’s club the show is.
The show depicts human beings as they are—scatterbrained, selfish, myopic, sometimes viciously cruel.