A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
The Lovers takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
It largely fails to animate Christine Chubbuck’s inner turmoil, focusing instead on broad, blunt externalities.
It demonstrates the fatal proximity and deceptive distance that can exist between the words and deeds of extremists.
James Schamus’s screenplay is rich with culturally specific details that deepen these forking moral predicaments.
Todd Solondz fails to configure the hand-offs of the dachshund in a narratively inventive manner.
Liza Johnson’s film is generally taken with comfy gags that celebrate these men’s ownership of pop culture.
Its fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
In short, Homeland functions as a closed system in which American might fosters radical resistance.
For all the sound and fury it expends to propel this season’s narrative in new directions, the aptly titled “Redux” in fact sends Homeland hurtling into history.
It succeeds in establishing the psychological state of play with much the same straightforwardness that “The Drone Queen” traded in politics.
Tomorrow, the WGA will announce its 2014 award winners, and whichever scribe(s) waltz off with the Original Screenplay prize may do the same on Oscar night.
The playwright discusses the limits of control and his opinion that his own mother is “a goddamned liar.”
What works about the film can largely be attributed to the original text, which is full of cruel twists and savage blows that Tracy Letts wisely retains for the screen.
One’s enjoyment of “The Star” and, really, the entire third season of Homeland boils down to whether one is a fan of redemption stories.
For three seasons, Homeland has been having it both ways with the exceedingly charismatic Damian Lewis.
Ultimately, it isn’t luck or faith that Homeland is interested in, but humanity.
Streep has earned kudos for a performance that’s fine, but not stellar when measured against her better work.
More a matter of what Homeland needs to move forward than what viewers might actually want, but it’s a necessary evil.