Rescue Me is a series at war with its own worst impulses.
For argument’s sake, let’s say you decide to watch ‘em all. What do you have in store?
The closing shot of last night’s Deadwood episode was never meant as a series-ender.
There’s been a lot of complaining about the Emmys this year, and with good reason.
Veteran. Agitator. Provocateur. Bully. Conspiracy nut. Patriot.
Deep down, you just knew that Whitney Ellsworth was too good to live.
Written, edited, and directed by the proprietor of this blog, Matt Zoller Seitz, the ensemble romantic drama Home is now available on DVD by way of Vanguard Cinema.
Vanished is, if nothing else, a seminar on just how much of a role good casting plays in the success or failure of a modern TV show.
The film does its potential detractors a great service by wearing its plot right out on its sleeve.
Terry Malloy’s bloodied walk to the warehouse at the end of On the Waterfront.
There’s not so much an Oliver Stone shot as there is an Oliver Stone rhythm.
Chinatown’s final revelations are all about personal intrusion.
Vice kingpin and frontier power broker Al Swearengen acted like a real prince in Sunday’s episode.
We are in a golden age of computer-generated animation.
When people speak of Hitchcock, they usually refer to the Master of Suspense’s movies.
Are you bored with print criticism’s general disinterest in filmmaking itself?
In person, Oliver Stone turns out to be a lot like you’d expect from watching his movies.
The show depicts human beings as they are—scatterbrained, selfish, myopic, sometimes viciously cruel.
The Wire is one of the finest works ever produced for American television.
Though a good many of us might like to think otherwise, a critic is not a prognosticator.