What works about the film can largely be attributed to Tracy Letts’s original text.
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.
“Gerontion” could succeed as nothing more than a forum for discussing the pros and cons of the “ends justify the means” idiom.
Based on the title of this week’s episode of Homeland, the question seems to be how much anyone can actually know, or be “positive” about.
“The Yoga Play,” both the episode and the spy tactic that Carrie uses within it, is little more than a distraction.
Like Dana Brody’s storyline, Peter Quinn’s mission is also lazily dramatic and lacks subtlety.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.
The poster for August: Osage County would have been an event no matter what it looked like.
The stage bred many of 2012’s finest film adaptations.
The film arrives on home video in a package that makes good on its swelling rep as an American indie video nasty.
Throughout, the actors grippingly and fearlessly delight in etching their characters’ incompatible agendas.
Tchoupitoulas could also be described as a work of nonjudgmental portraiture, but that wouldn’t come close to encapsulating its beauties.
With Bug, William Friedkin uses light, color, and sound to evoke subjective experience.