It starts with an overture and ends with a quip.
The film is like an ocean: vast and deep, for sure, but also internally turbulent, its tides ebbing and flowing, constantly lapping against its barely-there borders.
Due to the striking Writer’s Guild, episode 11 of Heroes’s second season may be the last we see of the show for quite some time.
“End of Days” brings Torchwood’s premiere run to a mostly satisfying conclusion.
Long Day’s Journey Into Night began my own long journey into Stockwell’s entire career.
As the title suggests, this week’s episode is all about the relationships, a focus that’s established before the end of the teaser.
Ridley Scott and Steve Zaillian seem determined to snuff out bright patches before they can catch fire.
Were The Mist about mist and not monsters, human or otherwise, it might have remained nervy and unsettling.
There’s much more wrong than right with The Savages, an off-putting entry in the daddy’s-dyin’-who’s-got-the-will genre.
The Clientele are really pushing it.
It was a depressingly mundane hour of Heroes this week, as the show’s massive fluctuations of quality week-to-week continued.
What is Robert Zemeckis up to, anyway?
I’m Not There merely adds up to a series of colorful set pieces.
This episode features the largest chunk of exposition from Jack since the pilot.
It’s unfortunate that Heroes is starting to pick up real momentum just as its strike-shortened second season comes to an end.
When Bibi Andersson cries in an Ingmar Bergman film, it really seems to hurt her.
This is a perfectly servicable episode of Friday Night Lights, accompanied though it may be by a faint whiff of filler.
The intersection of the alien and the human is front and center in “Combat,” as disaffected young men seek meaning, Fight Club-style.
Ronald Bronstein’s Frownland is a film whose synopsis screams, “Avoid at all costs.”
The Coens’ narrations often hint at, but rarely confirm, the existence of deliberate, supernatural forces.