Despite some improvements that streamline the storytelling, the series is still trying to do a little too much all at once.
Cleansed of all risk and personality, the film subsides, as though with a sigh, into the reheated sauce of mediocrity.
Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
No American film since Zodiac has exhibited such a love for the way information travels than The Post.
Its cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
Silicon Valley constantly draws on and deepens our understanding of its characters.
This is a beautifully constructed bottle rocket of an episode, shooting out a cascading shower of comic sparks.
The episode abounds in the excruciatingly awkward would-be-alpha-male slang that is the show’s specialty.
The episode is full of wonderfully wooden nerd-boy stabs at what Donald Trump calls locker-room talk.
The latest episode of Silicon Valley skewers the industry’s social mores and morals with precision.
Mascots’s rapid-fire gags result in a hit-or-miss pattern, ranging from the wickedly inspired to the overly broad.
The film is at its sharpest when Chris Kelly hands scenes over to his main character’s family and friends.
When it’s good, director Paul Feig’s Ghostbusters is funny, driven, sometimes even a bit scary.
Silicon Valley remains a complicated, heartfelt, and intensely uproarious articulation of the struggle to freely realize one’s creative yearnings.
In the show, even the most progressive form of capitalism hinges on a want to sublimate personal feelings, desires, and opinions.