The series amounts to little more than a 14th-century version of Love Island.
Like that infectious, iconic synth-pop theme, this is a film of familiar pleasures.
The series ultimately amounts to a little less than the sum of its parts.
Kill continually finds clever ways to defy our expectations.
Ultimately, Richard LaGravenese’s rom-com is a little too packed with soul-searching speeches.
A twisty legal thriller revolving around a murky case and morally compromised characters.
The film doesn’t relent from showing us how bad things will get if we stay on our current course.
The film is most effective when it isn’t indulging in narrative sleight of hand.
The series swings deftly between glitzy fun and somber reflection.
Atlas seems like a story that should have been experienced with a gamepad in hand.
The series lacks the craft and conviction of the shows and films it imitates.
With each new narrative development, the film’s game of cat and mouse grows more complex.
For a series that features a Trump-esque tycoon in a tale of police brutality, it has very little to say.
Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
In the end, the film reduces Winehouse’s life to little more than a sexist trope.
The film awkwardly pitches itself between a somber drama and antic melodrama.
The film rockets toward an action-packed finale filled with inventive touches and effects work.
The series doubles as both a high-speed comedy and a dark, biting drama.
Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
The series allows us to get comfortable in the familiar rhythms of a detective show just so it can then completely wrongfoot us.