Tyrel viscerally cuts to the everyday heart of living in a fraught cultural mixing pot.
The Immortal Life of Henrietta Lacks awkwardly and cumbersomely arrives at its revelations.
The film is a compelling addition to Sebastián Silva’s cinema of compassionate comeuppance.
It adds more grist for the mill to the notion that studios don’t hit the big red “reboot” button in any other state than a panic.
A playfully self-reflective rumination on what Terence Nance has described as “self-awareness through experience with love.”
Where the show gets a leg up is in its editing, which splices between the main character’s aggressive training and his tranquil family life.
The quartet of eighth-grade boys at the center of The Wire have their own way of dealing with bad police.
Carcetti is keen to meddle, but knows what to leave be.
Those who grasp the personal consequences of the election play the angles with greater care.
Allying with rivals to thwart a third party is the cold calculus of the city’s politicians as well.
The dealers know the kids, and the kids know the cops.
The slippery slope of civilization is already in place on The Wire and Simon is just out to document how each and every person survives.
On The Wire, everyone’s in school.
Pity Christian Bale for having had to lose so much weight for so little.
Brad Anderson’s atmospheric but shallow The Machinist comes with a powerful special effect: Christian Bale.