Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
There’s no limit here to the narrative conveniences that exist only to conclude the series’s eight-season arc.
There’s no shortage of empty gestures throughout the latest episode of the series.
The episode gives the audience exactly what it expects, and absolutely nothing else.
Violence is teased, but tantalizingly withheld, throughout the season-seven finale of Game of Thrones.
The episode offers up a battle between CGI dragons and CGI zombies, to pulpy effect but no moral consequence.
The episode that dials back from the epic confrontations that have filled out the majority of this season.
The film has been executed with a sense of formally stylish and thematically symmetric panache.
The power of the latest episode of Game of Thrones is that it leaves nothing to abstraction.
When Game of Thrones leans on its history, it takes on a resonance rarely found in fantasy.
If there’s one thing the frenetic White Walker-packed climax of “Hardhome” proves, it’s that at the end of the day, talk is cheap.
The problem these men face is that there are plenty of boys who find themselves in positions of power, and that’s not even mentioning King Tommen in King’s Landing.
Ostlund has a keen ear for dialogue and a perfect grasp of the push-and-pull rhythms of an imploding relationship.
Writer-director Ruben Östlund masterfully manages the marital tensions that drive the film’s plot forward.