If there is a master narrative plan for the show it is the excavation and unearthing of that ineffable essence that makes us human.
Readers, rev your engines.
So I bought the Criterion disc of Sansho the Bailiff blind and told Keith Uhlich I would write it up.
In some ways, “Damage Control” the season premiere of Big Love’s second season, is all about the aftermath.
What the hell did people expect from David Chase? Closure? Satisfaction? Answers? A moral?
For now I’ll just say that in the first five episodes of the HBO drama’s second season, it has evolved from a damn good show to a nearly great one.
David Chase is the king of the double-reversal.
Asking me to pick just five New York movies is downright Satanic, a perfect adjective since today’s “5 for the Day” is the fault of Ted Turner.
I hereby proclaim, for no good reason, May 30th, 2007 as Mac and Me day.
Fei Mu’s 1948 classic, which is a faithful rendition of a short story by Li Tianji, subtly places itself in the context of literary tradition.
The sea appears a utopia here, a setting that affords its passengers seemingly limitless boundaries.
The 60th edition of the Cannes Film Festival has come to a close.
Take a look at Princess Leia on the posters for Star Wars movies IV through VI.
Merely imparting the experience of watching the The Star Wars Holiday Special is a daunting task.
Those looking for definitive answers from their television viewing have probably long given up on Lost.
These anecdotes show, to my taste, what it was that was so special, so positively great about this American icon.
Revenge of the Sith is the grandest third act in space operas.
The Sopranos is not, and never has been, an either-or kind of show.
Once understands how intimate and vulnerable an act it is to share some small creation you’ve slaved over with someone else.
Jarhead is fundamentally unsatisfying, but it’s hard to imagine how it could be anything else.