The miniseries fails to tackle the unseen forces which enable and encourage the institutional rot that wrecks people’s lives.
Manuel Carballo’s film proves that the zombie narrative is still capable of subversion, but does so with the laziest, Lifetime-grade intimations of social relevance.
The film only thaws itself out from formulaic rigor mortis via repeated sights of cords, sutured wounds, and frostbitten fingers being severed.
The season finales of Big Love often have a bit of an out-of-control feel to them.
No matter how devoted you are to your creed (be it religious or otherwise), you’re always going to let it down.
“Rough Edges” just plunges forward, pell-mell, not terribly concerned with if it makes a lot of sense.
I’m sure some really enjoy the seriocomic tone that the Juniper Creek storylines can strike.
Sadly, no matter how hard the Juniper Creek stuff tries, it’s just never going to be as compelling as what’s going on at Henrickson Central.
Big Love is obsessed (sometimes too obsessed) with the notion that our public faces conflict with the faces we wear in in private.
If “Good Guys and Bad Guys” didn’t hit the heights that the last four or five episodes hit, it at least moved a lot of the show’s pieces further on up the game board.
One of the things that makes Big Love such an engrossing show is that it’s not afraid to make its central character kind of a selfish ass.
The fourth episode of Big Love’s second season, “Rock and a Hard Place,” was kind of clumsy in a lot of ways.
The idea of living in two worlds is reflected in the storylines centered on the two teens in the Henrickson household.
What Is Cletis Tout? is not some cheap Pulp Fiction knock-off, just fluffy neo-noir hiding behind cutesy film references.