It takes shape rather unexpectedly, with four short, open-ended vignettes following different groupings of characters that made it out of the prison.
It confirms that Marnie is no longer a sporadically irritating supporting player, but the center of Girls’s empathetic imagination.
In case you haven’t noticed, Kevin Costner is in the midst of what could be a major career resurgence.
Not since Robert Altman’s Nashville has an American film felt as real as life itself.
One doesn’t have to be a visual arts fan to appreciate the easy charm of Marcin Latałło’s Behind the Poster.
It’s not just the prosaic approach the mythically outsized hallmarks of Americana that makes A.J. Edwards’s first directorial effort feel like a Malick movie.
The show’s best moments have always been quiet scenes with characters coping with their own fears when no one else is around.
“Free Snacks” is lighter than air, and it affords Lena Dunham the opportunity to lighten up as an actress.
This paean to cinema, and to the kindness of strangers, curdles into miserablism.
Gondry’s squiggling animations—loaded with puns and cutesy-poo jokes—don’t really square with the subject.
A film about history that avoids it entirely. Not out of cowardice or lack of nerve, but because the head-on acknowledgement of Europe’s long 20th century is quite simply too painful.
“Only Child” serves as a succinct primer on all that’s currently right and wrong with Girls.
Camouflage is a precisely modulated satire whose abrasive edges continually test our discomfort.
“The Seven Wonders” finds Coven largely tending, predictably for the most part, to a final bit of plot bookkeeping.
It finds Girls addressing the Biggest Subject without losing its sense of oxymoronic comedy that’s rooted in contained rootlessness.
With the premiere of Looking, Andrew Haigh finds himself at a new standstill.
The penultimate episode of Coven finds the series still desperately scrambling to introduce busy conceits.
It suggests that Girls may be undergoing a tricky transition that somewhat accounts for last week’s growing pains.
It’s fair to say that Coven has evolved in a fashion opposite to that of the prior Asylum.
The opening pair of episodes, both directed by Lena Dunham, pointedly denies the titular foursome of much of anything resembling sympathy.