For all its references to the show’s history, the film never panders.
Why make cartoon characters out of a cast whose greatest comedic virtue is their natural ability to appear cartoonish?
I’m sure some really enjoy the seriocomic tone that the Juniper Creek storylines can strike.
He’s arguably the most important character in Big Love, even if we never directly see Him, even if we never are sure how He feels about the Henricksons.
Few shows on TV have as many scenes that feel like they should be dream sequences but actually turn out to be reality as Big Love does.
One of the best things about Big Love is that it’s decidedly agnostic about its purported protagonist.
The third season premiere episode of Big Love is, in many ways, a microcosm for the series itself.
The film is further confirmation that not every minor story from a subculture necessitates cinematic interpretation.
Big Love is obsessed (sometimes too obsessed) with the notion that our public faces conflict with the faces we wear in in private.
The best scene in the episode is the one when Bill takes his wives to the casino to see exactly what he wants to purchase.
It’s frustrating first because it’s so good and then because it seems to mire itself in the plotline that’s the least interesting on the show.
The fourth episode of Big Love’s second season, “Rock and a Hard Place,” was kind of clumsy in a lot of ways.
The idea of living in two worlds is reflected in the storylines centered on the two teens in the Henrickson household.
The challenge of the third season is seeing if Veronica and the gang can operate within the context of a college-based noir.
Mark my words: Napoleon Dynamite will fly off the shelves, bound to become the most-rented DVD of the next few years. Sigh.
The film traffics in one depth-less character after another and watches as they blindly engage in a spectacle of shallow bumblefuckery.