What could have been a profound study of grief and psychological trauma is diluted with needless structural and stylistic obfuscation.
With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film.
American Heist offers a veritable smorgasbord of dated, only-in-the-movies clichés about the debt-ridden working class.
The home-video format, which encourages binge viewing, could serve to accentuate the nagging hollowness of the show’s busy-body plotting.
True Detective tickles a kind of hard-boiled hysteria, but it never dives headfirst into madness.
Tony Scott relocates our sense of real-world helplessness to realms of deluded fantasy.
The film primarily forgoes gritty realism in favor of disingenuous, reductive fantasy in the star-glorifying vanity project mold.