Where God Left His Shoes is supposed to be gritty, realistic, and relentless.
Gardener of Eden has grisly fun with American vigilante mythos while paying deliriously strange, loving homage to Taxi Driver.
From the start, Two in One evinces a playful and personal obsession with the dialectics of cinema and theater.
This is what Tony Soprano talks about when he talks about happiness.
The plot of this lovely movie, my favorite I have seen so far in the Tribeca Film Festival, is basically a soap opera, a Tehran-set version of Desperate Housewives.
On paper, The Mormons sounds about as thrilling as mandatory Bible-study class.
The trailer for Vivere piqued my interest immediately.
The New Zealand landscape offers mesmeric counterpoint to any and all budgetary limitations.
Sun and Jin’s entire relationship can be distilled down to maintaining appearances.
Nobody on the series seems to have a conception of life outside of his or her own head.
The emphasis on locations is where Claire Denis begins to rear her creative head.
The film is an inventory of movie and music references as relentless and explicit as Grindhouse.
Hilary Brougher’s second feature film wants to shatter stereotypes about baby killing.
Lost doesn’t just name check the pop culture phenomena that have inspired and co-exist with it.
The laughs hurt.
You want to talk about old school?
Is it possible that The Sopranos judges itself as harshly as the harshest critics judge The Sopranos?
We’re entering into this conversation coming from antithetical perspectives.
Another episode of Lost, another con artist in our midst.
It’s easy to see why Friday Night Lights would make someone nervous.