2020s
Having finally found its legs, we are one episode away from the conclusion of The Dropout, a reckoning finally on the horizon.
While as a whole it lends itself to a filler episode, the investment and catharsis it garners, compounded by further intrigue, elevates it beyond.
Despite its excessive runtime and generally meeting expectations, The Bubble delivers an entertaining venture, and an easy breezy viewing experience.
Graham Moore’s “The Outfit” relies heavily on a charming performance by Mark Rylance but can’t tie together its many loose threads.
This was the best episode of season 1 of The Dropout thus far!
Topside makes its points enough beforehand to deliver a disorienting and visually challenging portrayal of abandonment and desperation in New York City.
Even if you don’t remember Greece’s triumph at Euro 2004, you’re guaranteed to be moved by King Otto.
Good editing or not, Corwin’s impressive, ambitious work in Don’t Look Up is at least highly expressionistic and motivated.
While the focus and ingenuity lessen as the underdog formula takes priority, the talented cast and their chemistry vitalize the absurdity.
With artistic interpretation, it finds the perfect balance of suspense, intrigue, and cliffhangers to make you want to come back for more.
A harrowing true story is rendered inert by the light touch on its most interesting aspects in The Infinite Storm.
The early Sundance praise is real. Fire of Love oozes passion and love from start to finish.
The Sacred Spirit hooks you with its moody, deceptively elusive presentation brilliantly structured with a tactful eye for detail.
My First Native American Boyfriend is a chance to provide Native audiences a form of catharsis, a chance to have their real-world experiences represented.
Stringing together multiple sources and influences, it is a spellbinding dance between Kashmir’s folkloric past and its tumultuous present.