Mike Flanagan reimagines Poe’s oeuvre as a nimble, tonally capacious collection of fables.
The series uses the trappings of horror to explore the power of storytelling as a means of reckoning with the unfathomable.
Mike Flanagan’s Midnight Mass exudes a narcotic pull in everything from its aesthetics to monologues that suggest the weight of confession.
The film may triple-underline its governing theme, but the rage and lucidity of its ideas resonate.
Disappointing supplements notwithstanding, this release of the under-seen The Last Stand does well by a film that’s proud to be small.
In Our Nature’s visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
The film stumbles in its transparent, half-hearted attempt at achieving teen-cult status.
Shot with CW-level aptitude and inclined to end scenes on awkward comedic or dramatic beats, Post Grad haphazardly synthesizes moments of levity with gravity.
Not since HBO’s The Wire has a show juggled so many conflicting and diverse issues like race, money, and class with such staggering insight.
I bet I know why you’re not watching, and I hope I can convince you to at least give it a shot.
The film probes man’s interior and interpersonal conflicts while menacing him with external supernatural forces.
It’s easy to see why Friday Night Lights would make someone nervous.