Mayhem! comes to a screeching halt when it’s functioning as a narrative delivery machine.
The film never dares to court our revulsion at what the survivors must do to live.
The film is content to blandly shrug in the direction of an amorphous societal choas.
The game’s rendition of the Scottish Highlands feels more like a world than a playground.
The series offers a surprisingly novel take on its source material, even if the pieces don’t fit together as neatly as they should.
The series works best when it takes the time to observe humanity as much as its monsters.
At its best, the game is quite good at creating a rich and tumultuous history for its characters.
Your Lucky Day offers a twist-laden take on the hostage crisis film.
The game eventually becomes a bout of scientific calculus on autopilot.
In the game, RoboCop’s actions are emphatically framed as making the world a better place.
The show’s alien ecosystem is often far stranger than anything in its characters’ heads.
Demián Rugna’s harrowing film spares no one from the cruelty of its world.
Xalavier Nelson Jr.’s game suggests a Halloween attraction as curated by John Woo.
Trepang2 sits at the blissful intersection of the very silly and the very serious.
The film is more invested in making its characters likable rather than risking our sympathies.
The series may not be great drama, but its fantastical blend of action and comedy is a great deal of fun.
The film is almost impatient about teasing out any depth of feeling from its scenarios.
Charlotte Regan’s film is a baffling clash of two incompatible visions.
The game differs most from its predecessors in its more open-ended sense of progression.
In the end, Love Life feels like a pale imitation of one of Fukada’s more grandiose melodramas.