A Screenager Star is Born?
William McGregor has crafted a remarkable debut feature, a notable addition to the burgeoning crop of indie folk horror offerings.
Following a very compelling second season, the series seems to be losing its edge, slightly, though only intermittently.
If, like me, you tend to see laughter as a form of catharsis then a serious question is raised: is laughing at nihilistic humor all that healthy?
Despite Dark’s complicated structure, the characters are motivated by utterly realistic desires and emotions, which balance the show’s more abstract elements.
Jamestown is a vividly timely reminder that anyone who calls themselves an “American” is actually descended from immigrants.
All three episodes have intriguing storylines, with plenty of human pathos and drama: but I admit to finding the first and third episodes a bit too digitally-focused for my taste.
John DeLorean remains an unwieldy figure whose story is difficult to frame — the new film leaves much unreported and unexplored.
Of course, history has not come to Deadwood to douse the smoldering embers of the past, but to supply more kindling.
Killing Eve is a smart, funny, and often shocking exploration of the complex psychologies of women leading dangerous lives, for whom killing comes much easier than it ought to.