Tonight’s season finale of Homeland was a homecoming of sorts, a return from the wilderness, a clearing of the slate.
It purports to be an incisive character study dramatized through outré “dream logic,” but Sharon Greytak’s ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
In a just world, Harvest would be getting a wide release alongside of, if not necessarily instead of, Thor.
The film draws on a little-known historical footnote as the haunted backdrop for an otherwise tepid contemporary drama.