The series gives Natasha Lyonne room to rasp and shamble her way through murder mysteries populated by a murderers’ row of guest stars.
In its second season, Russian Doll continues to ably straddle the line between realist tragicomedy and run-of-the-mill sci-fi.
The film finds its purpose most pointedly when it zeroes in on the unambiguous relationship between Holiday and “Strange Fruit.”
Jon Stewart’s amiable satire tries to show that you can make light political comedy in the Trump era.
Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
The Netflix show’s premise is like a playfully morbid Escher painting.
The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
It’s unfortunate that the only part of the film that works does so by taking the wind out of the rest of it.
Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
The series remains compelling in its devotion to exposing its characters’ public hang-ups and private strengths.
A blunt satire of the dehumanization inherent in social media that also gets off on said detachment.
The film’s larger points essentially fall by the wayside in the name of black comedy that’s largely without genuine edge.
Manglehorn is too talky by half, especially when two or even three scenes are superimposed on one another.
Even if “Iowa” is a workhorse of an episode, it bodes well for what comes next.
Adam Rapp’s Loitering with Intent is a comedy concerned with myopia that doesn’t succumb to the self-obsessed pitfalls of that subject.
Shari Springer Berman and Robert Pulcini’s dismal, D-grade sitcom isn’t fit to lick the boots of Whit Stillman’s four films.
Sinister, comical, aggravating, and audacious, Calvin Reeder’s film is nothing short of an affront.
It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
The apocalypse gets the soul-searching erotic chamber play treatment in one of Abel Ferrara’s best films.
American Reunion is admittedly a bit of a relief after the cynical and indifferently made American Pie 2.