Game of Thrones finally feels liberated from its own extensive mythology and now moves with thrilling fury and purpose.
Sits awkwardly between shoot ’em up and psychological thriller without offering the excitement of either.
The series feels like it has some firm footing and a newfound sense of certain direction that was lacking intermittently in the second season.
Whether you pay the gold price or the iron price, HBO’s top-notch box set of the show’s second season is well-worth the investment.
David Benioff and D.B. Weiss try too hard to introduce an elemental aspect to Game of Thrones’s focus on the nature of power.
The second season of Game of Thrones really hit its stride tonight with “Garden of Bones.”
After last week’s remarkable season premiere of Game of Thrones, “The Night Lands” is a bit of a letdown.
A gorgeous transfer of another bracing Spielberg oddity.
The most exciting thing about the season-two premiere of Game of Thrones is its refreshing sense of focus.
The new season introduces an assortment of fresh environments, expertly visualized by the show’s tremendous production values and adept crew.
The film is a disappointment, but it happens to be one of the more invigorating disappointments of the past year.
With shrewd wit, John Michael McDonagh’s script proceeds to self-reflexively address the very conventions it’s employing.
The film is a reasonably sensitive and occasionally insightful look into the mind and psyche of an impassioned and deeply troubled artist.
The extras are plentiful, enthusiastic, and, in the typical DVD tradition, mostly redundant.
Though seemingly content to be a B-movie director, Neil Marshall heads further into C-list territory with Centurion.
Jim Broadbent, perhaps the least celebrated of living Oscar-winning actors, frequently enlivens the labored Irish crime comedy Perrier’s Bounty.
This time, as opposed to all the other times, it’s personal.
This is catnip for boys who worship Michael Bay, James Cameron, George Lucas, and Roland Emmerich as gods.
This release is exceptional in all respects, boding well for future partnerships between Criterion and IFC.
Shot to shot, Blood: The Last Vampire is borderline incomprehensible.