The second season of The Flight Attendant keeps its characters constantly on the go even as they face down their demons.
Sophie Brooks seemingly fails to understand what made Annie Hall so appealing: its rich, multi-faceted characterizations.
Todd Solondz fails to configure the hand-offs of the dachshund in a narratively inventive manner.
The last few minutes of the episode are suffused with the potent mixture of love and bemusement.
The episode deals with several kinds of love: romantic, platonic, and that sparkly feeling somewhere in between.
The show’s minor characters leave vivid impressions while surfacing some truth about the major players.
The episode focuses on the surprising difficulty of figuring out who and what makes us feel at home.
This season has constructed situations for the characters that could hold steady after the series ends.
The season-five premiere of Girls is a microcosm of the series as a whole.
As it fixates on a set of characters languishing in their current situations, the episode locates the genuine comfort that clichés can offer us.
Girls’s attempts at eliciting our empathy for a privileged coterie of navel-gazers can sometimes verge on the indulgent.
Even if “Iowa” is a workhorse of an episode, it bodes well for what comes next.
It more or less resolves the season’s narrative concerns while simultaneously reminding us that such convenient closure is ultimately an illusion.
“Role-Play” features the best performance of Lena Dunham’s career.
It confirms that Marnie is no longer a sporadically irritating supporting player, but the center of Girls’s empathetic imagination.
The opening pair of episodes, both directed by Lena Dunham, pointedly denies the titular foursome of much of anything resembling sympathy.
The Best of Off-Broadway’s Theatricalization of Film: The Flick, Belleville, & Really Really
The best Off Broadway productions so far this year would probably make lousy movies.
HBO has stacked the deck in this show’s favor by delivering a decidedly obsessive-friendly package.
Lenda Dunham takes pains to debase her charactyers, and makes them both funnier and more recognizably human in the process.
Jeffrey Fine’s Cherry consistently grasps at hysterical melodrama.