With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film.
Paige’s search for an in-ring persona mirrors the dynamic between performance and identity at work in pro wrestling.
This fiery piece of pulp shrapnel receives a beautifully ugly transfer, along with a handful of negligible supplements.
Brawl in Cell Block 99’s economy of storytelling is as efficiently brutal as the eventual skull-crackings.
Mel Gibson’s Hacksaw Ridge delivers action that’s at once gross, rousingly virtuosic, and implicitly endorsed by its messianistic hero.
True Detective’s first season had a methodical and measured approach to tracking its villain, but this season doesn’t know when to stop changing things up.
This is an irritating table-setting episode in which the characters constantly explain how the pieces fit together.
Everything you need to know about the inconsistencies of the show can be summed up by the two standoffs that occur in this episode.
Throughout this season of True Detective, a singular point has been drilled into our heads: “We get the world we deserve.”
Good and evil have often been described as two sides of the coin that is humanity, and “Down Will Come” certainly puts that theory into practice.
Finally, there’s Frank, who’s still in what he referred to as a “papier-mâché” state of being—neither coming nor going.
Ultimately, what gets Frank out of bed is an echo of Leonard Cohen’s sentiment in the show’s theme song, “Nevermind.”
All the central characters have moments here in which they, for all intents and purposes, might well be dead.
Vince Vaughn’s cinematic existence is that he’s a paragon for reformed chauvinism. He’s an irrepressible but highly tamable id. Not so here.
The breadth of Vince Vaughn’s gregarious persona has never been given free reign by any director and this certainly isn’t the game-changer.
Kat Coiro’s film takes comedy of discomfort to new levels of cringe-worthiness.
Shawn Levy’s occasionally uproarious, warm-hearted comedy is about different generations educating each other, but it never seems rote.
Sometimes a film describes itself in miniature without realizing it.