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Season 2 of Mindhunter reminds us why we adore this show: it’s gripping, intoxicating television, as engaging on a scene-to-scene basis as it is on a grand narrative level.
Sadly, Ecco fails to deliver good writing and a visual instinct to its audience, loosing trust and the ability to keep them interested.
Coming off the heels of an episode that re-shaped The Boys’ narrative for the better, “The Female of the Species” is another strong hour of television.
Cold Case Hammarskjöld is entertaining, even if it’s not the bombshell documentary we expected.
After some false starts, The Boys’ “Get Some” solidifies the mission statement of the show, pushes our established characters in new directions and broadens the scope of the world.
Even with a few decent set-pieces and exceptional acting from the ensemble, The Kitchen is not the adaptation we deserve.
So while we did get some leads on our ongoing plot threads, The Boys continues to wallow in its worst tendencies.
In our recap from the The Volvo Scandinavian Film Festival 2019, we cover two high-profile premieres: The Purity of Vengence and A White White Day.
Upheld by two zestful leads, and polished production design, Lying and Stealing is almost the real thing, but oversells its value.
Ash Is Purest White is a masterpiece of time and alienation. Aaron Berry examines the ways time affects the characters.
The Boys is a bizarre mishmash that leads to some mishandling of sensitive material and a strange tonal dissonance throughout.
Orange Is The New Black was never pitch perfect, but it hit enough high notes to make it count. Farewell, Ladies of Litchfield.
Skin manages a few gripping moments thanks to its cast but can’t string them together into something meaningful.
Aaron Harvey spoke exclusively with Film Inquiry about his latest film, revenge thriller Into The Ashes.
Stuber isn’t a life changing film, but it’s a worthy addition to the buddy-cop comedy pantheon.