The episode is, above all else, a resolute detailing of the final calm before a spectacular storm and what it means to be human.
Once an accidental act of violence sends the main character’s life into a spiral, the film unfortunately spirals with him.
The miniseries at least gives ample space for Sam Rockwell and Michelle Williams to richly inhabit their characters.
The miniseries fails to tackle the unseen forces which enable and encourage the institutional rot that wrecks people’s lives.
The show’s greatest strength is still the way it upends our expectations via tonal shifts and amusing personal details.
There’s an unsteadiness to this return to that certain dimension of sight, sound, and, of course, mind that dulls whatever impact it intends.
The new season may just give you nightmares, though none that Sean Delaney’s accent can’t soothe.
The season’s storylines cohere around the myriad factors which comprise the masks people present to the world.
Ahead of next week’s premiere of the series, CBS All Access has released trailers for the first two episodes.
The series fails to uphold, subvert, or otherwise comment on the stylistic vision or thematic coherence of its source material.
Welcome to fucking Deadwood!
The series struggles to find a distinct voice that isn’t beholden to the original film.
A wise woman once said that there’s no such thing as a coincidence.
Alex Gibney’s documentary tells a dramatic, if somewhat workmanlike, story of Silicon Valley hubris meeting old-fashioned scamming.
The show pulls in too many directions at once, many of them far removed from the sporadic charm of its concept.
In its second season, the show’s leisurely road trip downshifts into a total lethargy.
The Netflix show’s linking of cruelty and emotional healing is dubious at best.
The Daily Show alum talks about her savagely funny Adult Swim series Soft Focus.