The film forgets that if you’re not building something new from familiar pieces then you’re just regurgitating old ideas.
The Lovers takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
Another effort to explain how difficult it is to be a young, white, smart, non-disfigured, upper-middle-class male.
There’s tremendous dramatic value to the aching and sometimes devastating scenes that home in on these kids’ private torments.
Dualities in life, art, and madness crisscross throughout Shit Year.
No matter how devoted you are to your creed (be it religious or otherwise), you’re always going to let it down.
“Rough Edges” just plunges forward, pell-mell, not terribly concerned with if it makes a lot of sense.
I’m sure some really enjoy the seriocomic tone that the Juniper Creek storylines can strike.
He’s arguably the most important character in Big Love, even if we never directly see Him, even if we never are sure how He feels about the Henricksons.
Think about the last time you talked to your mom or your dad or your best friend.
Sadly, no matter how hard the Juniper Creek stuff tries, it’s just never going to be as compelling as what’s going on at Henrickson Central.
Big Love is obsessed (sometimes too obsessed) with the notion that our public faces conflict with the faces we wear in in private.
The fourth episode of Big Love’s second season, “Rock and a Hard Place,” was kind of clumsy in a lot of ways.
The idea of living in two worlds is reflected in the storylines centered on the two teens in the Henrickson household.
Ridley Scott fans: Imagine for a second what Matchstick Men would have looked like if Robert Zemeckis had directed it.
This is a film that manages to say less about chaos theory than Jurassic Park.
Ridley Scott’s camera merely exaggerates what an overly mannered but impressive Nicolas Cage evokes just fine on his own.