While episode two is a big upgrade from season 13 of RuPaul’s Drag Race’s premiere, a lot happened in this episode and most of it was good but average.
Besides, a halfway decent premise, I can’t otherwise find a single reason to waste your time with this hacky, uninspired show.
It’s not really fun to watch seven queens be so down on themselves, and when the scene changes to the winning queens, it’s difficult to really root for any of them.
The Ripper, the eponymous killer, and the series expose the misogyny with aplomb at every step and moreover, it is persistently captivating.
Despite its many strengths and successes, Education was the only Small Axe film that left me wanting more.
As it is, The Stand, has some great direction and acting, even if some of the time management isn’t on point.
Alex Wheatle is yet another strong showing from Steve McQueen and company, and one that feels more personal than the rest.
The Queen’s Gambit is stunning and exhilaratingly enjoyable, but it ultimately leaves me as a viewer just wanting more of it as a whole.
While it’s visually handsome, with performances from the two leads that are equally staggering, the show fails to accomplish what it wants to do.
City So Real, Steve James’ five-part documentary miniseries, is a stunning, panoramic view of an America in transition.
While beautiful to look at, The Undoing struggles to say something compelling as it’s more interested in amplifying the melodrama.
Fargo feels monotone as it’s too busy delivering speeches instead of creating compelling arguments about the timeless topics it wants to tackle.
Mike Flanagan’s The Haunting of Bly Manor once again sees him revisiting an old horror text as a roadmap to explore human emotions.
Ratched returns Murphy to his deliciously horrific TV roots, bringing the origin of an iconic character to life for a new generation.
We Are Who We Are thankfully delivers on what it promises in an immersive coming of age drama from one of the greatest filmmakers of our generation.