Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
Many of the events in the latest episode of Twin Peaks seem to depend on the toss of a coin.
The episode’s emotional epicenter is Bobby Briggs, now white-haired and working as a deputy for the department.
Camilla Luddington refuses to predictably foreground her character’s escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
You could go nuts with the double entendres associated with One for the Money, beginning, of course, with the film’s title.
Father issues are to the Lost flashback what cancer is to a diagnosis on House.
This tapestry of intersecting Hollywood lives that illuminates nothing except for writer-director Jason Freeland’s obvious fondness for Short Cuts.
Judge’s nervy futuristic comedy survives studio cluelessness on its way to cult appreciation.
By refusing to distance itself from its targets, Mike Judge’s brand of satire risks being mistaken for what it’s satirizing.
One of the finest Cinemascope films of recent years is presented in a mostly excellent anamorphic transfer.
Brian De Palma eschews the Classics Illustrated mannerisms of L.A. Confidential in his adaptation of James Ellroy’s novel.