The action is visceral, fast, exhilarating, and awful. The horsemen are beyond belief.
There’s something fundamentally suspect about a film whose appeal is so heavily predicated on a mirthful contemplation of human innards.
For network TV, the shows of violence and sexuality are striking, and the production values are above average, with the snowbound fort doing most of the work in creating a mysterious atmosphere.
Your contacts aren’t fogged over, faithful listeners, this is in fact Part Two of Episode 12!
Changes afoot at The House, as I’m sure you’ve noticed.
Back like disco, but twice as corrupt, Vadim and myself return for another week of discourse.
Castle, his actors, their stunt doubles, his camera crew, and the editor Rodrigo Balart make it all seem… effortless.
After two episodes full of deliberate but pulse-quickening pacing, “Sine Qua Non” feels a little scattered.
This is easily the best of the early season, two-part action spectacles Doctor Who has yet offered up.
Alex Gibney is a lucid interviewer, getting barbed, surprising comments from Pat Buchanan, Jimmy Carter, George McGovern and Tom Wolfe.
Nothing could possibly prepare you for the overwhelming mindfuckery that is Synecdoche, New York.
At the Death House Door slowly and subtly reveals itself to be about far more than one pastor’s life.
Hello. My name is Vadim, and I’ve been a derelict blogger.
Watching Abraham, I kept thinking that he’s ripe for rediscovery and reinvention as a comedian.
Sure, we’re as surprised as you that we’re still doing this, but without this podcast we’d go hungry.
Even romantic Woody Allen comes with a heaping side-order of questions and doubt.
Clint Eastwood is a masterful director, but he loses control of Changeling’s tone.
A key, perhaps, to the labyrinth.
Every Indiana Jones film tells us, upfront, how to read and experience it.
What a long, strange week it’s been.