The show’s return finds new complexities, runs into some of the same problems
Author: Tim Stevens
The HBO Max series starts with some rough edges and unconvincing clichés, but excellent performances overcome those issues.
Coppola goes small in scale and big in heart.
Denise Gough and Sebastian Stan bring chemistry to a frustrating relationship that should not be
The newest Falcone/McCarthy collaboration feels just like the others: disappointing.
Beautiful, strange, and enrapturing, 2046 feels unlike anything else in Wong Kar-wai’s oeuvre, and yet utterly of a piece with his mesmerizing works.
There’s a lot to like in Amazon’s new animated series, but the R-rated superhero antics have a tough time translating from page to screen.
Good Girls digs deeper into the grind of a life of crime but loses a bit of its spark in the process.
Despite the magnetism of its star/subject, Young Rock ends up little more than a sweet lesson of the week half hour.
Mira Nair’s most American film may well be her most impersonal.
CBS All Access has managed to create an anti-hero drama as unpleasant as it is dull.
A strong grasp of grief and inner turmoil runs up against weak choreography and a closed-off lead character to make Zoey a frustrating near-miss.
David Fincher’s syrupy historical fantasy is as sumptuously filmed as it is shallowly written.
Gal Gadot remains great in the title role, but the sequel does too little, while doing too much, to match her.
From BoJack to What We Do in the Shadows, we break down the TV that got us through a hellish year.
By stubbornly refusing to embrace subtlety or reject clichés, The Wilds ends up unapologetically great.
Impressive new technology powers Earth at Night in Color but may be wasted on the seemingly intended audience.
Nearly eight years later, Zero Dark Thirty continues to court controversy by stubbornly refusing to argue for or against the lengths America took to find Osama bin Laden.