Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
It’s a testament to the immersive performances of its two leads that the series manages to bring its titular iconic figures to life.
One of Soderbergh’s best films, a classic of the American crime film genre, is afforded a beautifully visceral transfer.
Often funny and always wicked, the series spends its time patiently rending apart the images its characters have of each other.
Alan Ball quickly loses sight of the sense of power that fuels the film’s early moments when his characters basically just gaze at each other.
With this fractured story of singer-songwriter Blaze Foley, Ethan Hawke battles the clichés of the musical biopic.
Writer-director Andrew Haigh’s Lean on Pete exudes a quiet but self-evident sense of struggle.
Matt Reeves’s War for the Planet of the Apes is a film that resides in an ethical grey zone.
The film is premised on a radical act that it buries beneath a grueling avalanche of quirk.
The main character is a collection of insecurities that have been calculatedly assembled so as to teach children familiar lessons.
Life pours out of Treme and, like all good things, the series ends with equal parts rage and love in its bombastic heart.
Conventional but never sanctimonious, it balances out its familiar recovery angle with a healthy measure of sardonic wit.
In its third season, Treme has become so adept at blending character-based drama with its overarching themes.
The film is conspicuously devoid of any sops to the adults in the audience.
HBO gives the superb second season of David Simon and Eric Overmyer’s post-Katrina drama an excellent transfer.
The show is as much a celebration of New Orleans’s spirit as it is a depiction of the struggle to keep that spirit afloat.
Treme’s deeply humane treatment of a communal tragedy, not a national one, quite simply blows the doors off the place.
The problem with the film, as before, is that it’s rarely as lively and funny as it should be.
The film half-heartedly plods along in its final half to an irrelevant conclusion.
By the third episode, the show has developed so much character that even simple glances are steeped in meaning.