Despite the sordid, festering material that the series explores, what ultimately emerges is sheer beauty.
Every event in Michel Bergmann’s film is presented with the cheeky abandon of a lighthearted comedy.
The season finale of Homeland lingers almost uncomfortably long on the survivors.
Despite the implication of the title, “The Litvinov Ruse” is no trick.
A Late Quartet jettisons character plausibility in favor of pop psychology and leaden instrument analogies.
The film’s lack of clarity is precisely the thing that gives it its strange singularity.
It’s as if everyone in Aardvark, blind or not, is feeling their way through the world in completely different ways.
Kevin Asch so thoroughly enmeshes one in his Hasidic Brooklyn milieu that his film initially counterbalances its plot’s banality by focusing on particulars.
Filmmaker Richard Shepard only thinks he knows how to fake it so real that he’s beyond fake.
Oy vey. The film gives Jews an insufferable holiday family comedy to call their own.