Well, here’s hoping three months makes the heart grow fonder, eh?
This Beautiful City provides a thoroughly researched context for the evangelizing of Colorado Springs.
This is a film that challenges any sense of resentment in identity building, and for that alone, it deserves wide praise.
One of the things that draws me to the medium of television is the way a series can show the process of doing something.
There’s a reason they call it adaptation.
Animals have a spontaneity, a naturalism, a genuine screen presence.
“Rough Edges” just plunges forward, pell-mell, not terribly concerned with if it makes a lot of sense.
Whenever a character makes the trek from a small country town to the Big Apple, you know something important’s going to happen.
To a real degree, I’m willing to give the show a lot of slack because it’s a story still in search of an ending.
Boy and girl meet cute, argue, have problems, get together in the end.
I took almost no notes during 35 Shots of Rum, because it seemed kind of beside the point: Claire Denis’s pleasures are almost all immediate.
Let us now sing the praises of Josh Holloway and Elizabeth Mitchell.
Connecting Polanski’s work to what a western audience would refer to as absurdism or surrealism, Bird views them as personal artistic statements.
Bird discusses Polish director Andrzej Zulawski and more.
I’m sure some really enjoy the seriocomic tone that the Juniper Creek storylines can strike.
I don’t think it’s coincidence that this was the episode to reintroduce the concept of Cylon projection.
I realize how snarky I’m being, but it’s to emphasize just how trite so much of this episode ends up being.
If Dillinger Is Dead is riveting at its most ostentatiously purposeless, it’s also more conventional than it knows.
The structure of “Life and Death” is pretty predictable once you get into the swing of it.
Maria Beatty’s Bandaged is the S&M filmmaker’s foray into the indie mainstream.