It ends with a wrenching emotional development that should be a major turning point in the relationship between the Doctor and Clara.
It succeeds in establishing the psychological state of play with much the same straightforwardness that “The Drone Queen” traded in politics.
The reset that follows Nicolas Brody’s death in Iran at the end of season three may save Homeland from ignominy.
The change in seasons is a terrifically smart maneuver, even if it allows for some fairly obvious hopscotching.
Neighbors is so intricately composed that one might sometimes forget that this a film and not a moving painting.
Directed by Guy Ferland, it’s a nasty and sleek episode that plays off the striking tonal juxtaposition between calm and chaos.
The episode is another mostly light-hearted script from Gareth Roberts.
Much like the surrealists, Walerian Borowczyk mines the sexual terrain for what it reveals about human inventiveness, as well as our fears and follies.
“Get the Rope” may mark the first time Soderbergh’s dazzling, inventive shooting style just can’t support the dramaturgy.
For a few moments at the beginning of the episode, Sons of Anarchy doesn’t take itself too seriously.
Not for a long while has there been an episode with so little connection to the ongoing season arc.
Director Steven Soderbergh’s handling of the meningitis case is both technically and dramatically virtuoso.
Cagey strategies occasionally play a role in taking out enemies foreign and domestic, but SAMCRO prefers all-out blitzkrieg.
Appropriately for an episode called “Listen,” sound design plays an important part.
The Knickerbocker Hospital’s putative mission to help New York City’s neediest gets its most interesting stress test yet in “They Capture the Heat.”
Unfortunately, Rosewater rarely builds off the scenes between Gael García Bernal and Kim Bodnia.
The show’s seventh and final season will be a reckoning for the countless sins of its lead character and Hamlet stand-in.
Abel Ferrara’s wholly unconventional biopic manages to stick in the brain like few I’ve seen so far.
The season finale features a series of reckonings, not all of them as satisfying as one might have hoped.
Tom Riley’s portrayal of Robin dances dangerously close to pantomime at times, particularly in the first half.