It makes better use of its quieter interludes than similar episodes and also offers a handful of isolated standout moments.
The writers’ decision to limit this episode to Andrea and the Governor heightens the contrast between the two divergent plots.
This week’s episode pivots forward into more fruitful dramatic terrain than last week’s season premiere.
It suggests that the writing team has listened to everyone’s gripes about season two’s frequent and labored pontificating.
What’s most rewarding about the season so far is seeing this band of fools become more efficient and ruthless.
The Walking Dead remains a frustrating mixed bag of intense highs and melodramatic lows.
An oddly conventional work for a terminally inventive director receives a satisfactory transfer and a bounty of strong extras.
The whole production is visually stunning, and there’s an illicit energy that comes from putting Gaga-as-Magdalene center stage.
Robert Redford nimbly dramatizes a historical moment that’s politically relevant without being explicitly preachy.
It’s a stellar work-in-progress—a grisly, thrilling, and uneven take on the zombie apocalypse that’s still finding its footing.
In cinema as in life, the devotion inspired by cults can—like the Jonestown thirst for Kool-Aid—border on lunacy.
The film’s bibilical allusions and interest in issues of morality and madness are too facile to prop up a lack of second-half scares.
The film resembles the bloated, unfocused full-length albums that would become an industry’s stock and trade.
Talented filmmakers working on material from genre aficionados, yielding uneven results.
More nostalgic than realistic, Deuces Wild paints an unimaginative portrait of macho bullshit.