Bodies fly, heads explode, and video game logic reigns triumphant.
Criterion has outfitted Mira Nair’s sophomore feature with an exquisite new transfer and a superb slate of extras.
David Lowery’s film exerts a haunting pull, but it’s only superficially more daring and enigmatic than its source material.
The film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lens of the ruling class.
Elan and Rajeev Dassani’s Evil Eye has no set pieces, jokes, or surprises.
Today, A24 dropped the trailer for haunting mustache enthusiast David Lowery’s latest.
The show’s fundamental goal isn’t to present love that’s unique to the current moment, but to expose the universality of its stories.
As it nears the end of its run, the series doesn’t seem to have much more to say about trauma.
The episode’s triumph is the way it continues to observe the fallout of large political actions.
Remarkably faithful, except in how it rather boldly transforms Dave Eggers’s drama into a broad comedy.
Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
In short, Homeland functions as a closed system in which American might fosters radical resistance.
As a metaphor for the way we respond to the media, the film succeeds most when it revels in ambiguity.
The reset that follows Nicolas Brody’s death in Iran at the end of season three may save Homeland from ignominy.
More a matter of what Homeland needs to move forward than what viewers might actually want, but it’s a necessary evil.
Carrie’s actions may be morally correct, but they work against the greater needs of the country, and so she’s not permitted to act on her own.
“Gerontion” could succeed as nothing more than a forum for discussing the pros and cons of the “ends justify the means” idiom.
Based on the title of this week’s episode of Homeland, the question seems to be how much anyone can actually know, or be “positive” about.
Like Dana Brody’s storyline, Peter Quinn’s mission is also lazily dramatic and lacks subtlety.
The levels of insight provided into the characters are exactly commensurate with any conceivable viewer’s interest in learning more about these nonentities.