The closer the series gets to its destination, the more it invites skepticism of whether there’s really much there at all.
The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
If the movie has the ring of a high school or college reunion, that’s because that’s pretty much what it’s like.
The film is a lightly dramatized case file that’s structurally averse to world-building and psychological portraiture.
Ultimately, what gets Frank out of bed is an echo of Leonard Cohen’s sentiment in the show’s theme song, “Nevermind.”
There’s an engaging trashiness to season two of True Detective, but the overall production feels overbearingly self-serious.
The film Vallée has created out of Strayed’s beloved 2012 memoir never quite matches the blunt audacity of its simple title.
These horses aren’t just lucky talismans; they also possess a purity of spirit that rehabilitates many of the show’s jaded characters.
Deadwood’s knack for painting multi-layered portraits of evil is an aspect that elevates it above all but a handful of current series.
Savage men who disagree beat each other’s brains in. “Civilized” men who disagree send proxies to beat each other’s brains in.
By episode’s end, the political speeches postponed by Al in the season opener had taken place, but Al paid a price for his defiance.
In Deadwood, no one incident is isolated; it inevitably touches everyone and everything, reverberating throughout a community now readying itself for its first legal elections.
Ellsworth thrives in Deadwood’s lethal landscape by peppering his encounters with a self-deprecating wit won over many terrains.
HBO’s Deadwood, which begins its second season tonight, is the greatest dramatic series in the history of American television.
Make your claim on Deadwood: The Complete First Season.