Justin Theroux
Patrick Bateman represents the horrors of addiction, hedonism, narcissism and greed – and with a dose of humour, he’s a character that remains ingrained in our pop culture landscape.
The Leftovers is a very deep series series, one that is introspective and personal. It’s subversive, unrelenting, and keeps you on your toes.
On the Basis of Sex is not likely to plant the seed of determination in the next RBG, as they don’t need pop feminist representations of even the most laudable of figures.
On The Basis of Sex tells the story of Ruth Bader Ginsburg, her struggles for equal rights and what she had to overcome in order to become a U.S. Supreme Court Justice.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
There’s certainly fun to be had with this deeply silly slice of R-rated raunchiness, yet The Spy Who Dumped Me struggles to balance its crass brand of humor with shocking bursts of carnage.
Mute is riddled with unoriginal elements, from the Blade Runner inspired visuals to the generic missing persons story, to the underdeveloped characters; it is a misfire on all accounts.
In this installment of Take Two, Robb Sheppard reconsiders David Lynch’s Mulholland Drive after a less-than-satisfying first viewing.
Sure, we’ve all heard the rumours: topping the critics’ pick of the flicks for this century, hell, this millennium so far, is David Lynch’s Mulholland Drive. But what exactly happened up in the darkness of those famous hills, on those enticing yet savage switchbacks?
