The film’s unreflective earnestness is haunting in all the wrong ways.
The episode eerily and effectively depicts how stories can be orchestrated and flipped on a dime.
The episode plunges head-on into the murkiness of doubt that even the show’s heroes act like villains.
The latest episode of Homeland is clear, measured, and deliberate in its critique of American policies.
One’s enjoyment of “The Star” and, really, the entire third season of Homeland boils down to whether one is a fan of redemption stories.
For three seasons, Homeland has been having it both ways with the exceedingly charismatic Damian Lewis.
Ultimately, it isn’t luck or faith that Homeland is interested in, but humanity.
“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.
“The Yoga Play,” both the episode and the spy tactic that Carrie uses within it, is little more than a distraction.
After a string of underperforming self-penned duds, M. Night Shyamalan throws his hands up and sells out with The Last Airbender.
Jon Favreau recognizes the necessity of entrancing larger-than-life personalities, but his CG-ified artistry prevents the film from trully soaring.
Righteousness has rarely been conveyed on screen with such shrillness.
Courtesy of Catherine Hardwicke, the Nativity has become the most boring story ever told.
Land of Plenty is your typical Win Wenders doodle, except its meaning is now explicitly rubbed in our faces.
Crash explores, via interlocking stories, the cultural, racial, and spiritual isolation of Los Angelinos.
Director Ramin Serry does wonders with evocative archival footage and the evolving emotional intensity between Maryam and her mother.