The film’s characters hardly possess a sense of a history or an interior life to adequately convey racism’s psychic toll.
Steven Soderbergh’s camera seamlessly stitches the hospital’s constituent parts together in what appears to be real time.
The Knick is such a well-constructed series that the characters’ dialogue can’t help but reveal one prejudice thrown at the expense of another
It’s hard to avoid feeling like the same issues of dramatic proportion and temporal flow that dogged the first season remain.