It may be a measure of how much Orphan Black has won me over, warts and all, that watching Tony sidle up to Felix for a kiss left me so discomfited.
The Killer is an everyman play written to resemble a political parable.
In the summer of 1989, vampirism became instead a symbol of contemporary urban angst.
The production makes the experience of entering and exiting the theater more exciting than watching the play itself.
Dusting off cornpone genre titles from the ’80s, there’s always a tacit hope that yesterday’s shit will be today’s shinola.
Dead Poets Society purports to be about the bravery of following one’s own path. This is a bright, shining lie.
It takes the aesthetic premise of Louie, in which the world around its protagonist matches his passive, fatalistic outlook, to its logical extreme.
This one begins like a pleasantly hazy post-pubescent fever dream.
The episode isn’t so much a lead-up to the showdown promised by its title as a delay of game.
The frustratingly inconsistent second season of Orphan Black has been a tale of two series.
Parts four and five of “Elevator” devote nearly half their running times to extended digressions.
Matthew Weiner and company make a point of echoing Cutler’s flippantly opportunistic nature twice over before the episode concludes.
The cutting-room switchbacks required to hold the tune for nine—or is it 10?—narrative threads foil any chance at building momentum.
Goodbye to Language sees Godard make the leap to 3D with jaw-dropping results.
The film endears itself to audiences by the utter idiosyncrasy of its execution.
The film is one of the Dardennes least morally nuanced films to date.
With his latest, Nuri Bilge Ceylan’s characteristic obsession with his country’s variegated topography takes him to Cappadocia.
Hazanavicius takes on the horrors of war in this remake of Fred Zinnemann’s 1948 film The Search
“Elevator Part 3” finds Louie displaying darker facets of his personality.
The more overwhelming intimation of the title is the idea of making plans in general, and the unwavering fallibility of said activity.