Enervated to the point of somnolence, Miller’s film squanders inherently intriguing material.
Perhaps it’s fortunate for Denzel Washington’s career that the film was both a commercial and financial failure.
The episode’s saving grace lies in the contrast that the series continues to develop between the two young women of the Stark family.
With the notable exception of Hilary Swank’s upright and uptight Mary Bee Cuddy, the film never lets its female characters speak for themselves.
“Ipsa Scientia Potestas Est” is a rollicking mid-season wallop that counts among Orphan Black’s best episodes
This is one of Wiseman’s richest and most thought-provoking films, and easily one of his best.
Mr. Turner, as it titles suggests, is a portrait of the artist as everyman.
The Captive plays like the overeager idiot brother to Egoyan’s superior The Sweet Hereafter.
The actors are so credible together that one forgives a lot in this movie.
Comical media images of women exploding provided outlets for spectators to laugh off the hazardous politics of everyday domesticity.
Louie offers a chance to reconnect with Louis C.K.’s roots as a more modest performer.
It’s easy enough to say that this is the most substantial and refreshingly untamed episode of Mad Men’s seventh season so far.
The unifying element of “The Laws of God and Men” may be the profound silence of the show’s architecture.
Narrative perturbations abound in the latest episode of Orphan Black.
The title of the season-four premiere is possibly a wry acknowledgment of Louie’s return after a year-and-a-half hiatus.
The first episode since “Time Zones” where the narrative constantly felt busy with story rather than depending on symbolic acts and pauses.
Only Michelle MacLaren’s brilliantly composed coda with the White Walkers sticks in the memory.
The concluding montage of clips from “the next Orphan Black” makes clear that she survives, but the episode assumes a somber tone nonetheless.
This scathing Vietnam War-set film finds an army cameraman embedded with a small infantry platoon on their final search-and-destroy mission.
As with any episode of television that bears Michelle MacLaren’s directing credit, “Oathkeeper” does not merely look good.