Though The Outfit, is cut from the same cloth as Reservoir Dogs, Graham Moore isn’t as skilled as Quentin Tarantino at generating controlled chaos.
Doctor Strange in the Multiverse of Madness: Many-worlds interpretation is enjoying a pop-culture moment
The sacred timeline that dictated MCU’s continuity had also acted as an assembly line for conformity — a subject of repeated criticism of the franchise. Yet, the branching of realities in a multiverse hasn’t really allowed Marvel’s Phase IV directors and showrunners to flex their creative muscles.
Ozark was an inconsistent drama that matched Netflix’s inconsistent standards, but it will still go down as one of better originals to have come out of the streaming platform.
Tokyo Vice conducts itself with a measure of self-awareness, not ennobling a white saviour or the Western moral identity.
Underneath all the time-travelling, Undone is still a cathartic drama about a woman dealing with trauma.
Better Things bids goodbye as TV’s most honest, thoughtful and funniest perspective on being a single working mom
Metal Lords, co-written by Game of Thrones scribe DB Weiss, fails when it tries to tap into the more universal aspects of the adolescent experience.
Oscars 2022: Jessica Chastain's victory over Penelope Cruz, Olivia Colman shows biopics are awards bait
Jessica Chastain no doubt disappears into her role of Tammy Faye, embodying her charm, capturing her mannerisms, and giving her a strong voice. But all the gestural intensity can't make up for the character’s lack of interiority.
Oscars 2022: How The Power of the Dog dissects performative masculinity through its oppressive production design
The code of the cowboy stems from the rough-and-tumble in the wild where rifles and ropes speak louder than words. But in The Power of the Dog, director Jane Campion rethinks the intersection of genre and gender.
Space Force Season 2 review: Slight course-correction after rocky lift-off still yields uneven returns
Space Force Season 2 review: The new season’s attempt at course-correction after a rocky lift-off only tilts things to watchable levels.
Life happens regardless of our participation — as Sarah cruelly finds out when her entire life is hijacked by her clone in the absurdist satire, Dual.
For a story about the horrors of being a woman and navigating the dating industrial complex, Fresh falls some way short of its title’s promise.
The dysfunctional relationship in The Shrink Next Door is a cynical anti-bromance that becomes a grind to watch, leaving us more exhausted than enthralled by the end of the show.
The Wheel of Time review: Amazon series based on Robert Jordan's epic fantasy takes a turn for the worse
The Wheel of Time (WoT) is the feedback loop literalised, an unwitting comment on the cycle of epic fantasy adaptations being churned out in the wake of The Lord of the Rings (LOTR) and Game of Thrones (GoT).
A Quiet Place Part II movie review: John Krasinski puts together a suspenseful sequel well worth the wait
Seldom has a follow-up felt like such an organic continuation. Like you're picking up from the last episode of a show you watched yesterday, when it really has been three long years.
What makes the comedy from Taika Waititi and Sterlin Harjo a landmark series is its refusal to dance around socio-cultural issues affecting the Native American community. At the same time, the show never loses its humorous slant.
Jake Gyllenhaal as 911 call operator dials up the drama but Netflix thriller fails to connect.
Nine Perfect Strangers strands a great ensemble, turning an eight-episode run that should have been a fresh, easily-drinkable smoothie into a stale, hard-to-chew salad.
Mike Flanagan’s Midnight Mass makes some pointed observations about faith, death, addiction, redemption and the folly of being human.
Star Wars lends itself quite easily to a magical mystery tour of anime, a medium which affords a lot of freedom to experiment with form, style, and tone.