The sense of hope in There’s Still Tomorrow feels measured and pragmatic.
As it jumps from topic to topic, the film leaves one feeling as if it has no center of gravity.
It’s in the VR world that the film best conveys its themes of modern intimacy and alienation.
Seth Gordon’s film is largely, and awkwardly, beholden to the most banal of spy tropes.
Magnus von Horn’s film consistently conjures a disorienting and claustrophobic effect.
The show’s most powerful moments come from its small cultural specificities.
The series plays out like a sultry crime thriller, but what lies beneath its edgy, multi-perspective plot is a social drama about class.
In its second season, Russian Doll continues to ably straddle the line between realist tragicomedy and run-of-the-mill sci-fi.
At its best, Tokyo Vice sketches out a detail-rich portrait of Japanese society and the criminal world that operates in its shadows.
Pachinko is an artfully staged and detailed historical epic that details one family’s experiences across generations.
In its fourth season, Killing Eve remains keyed into the symmetry between its two protagonists as they converge toward a final showdown.
Inventing Anna suffers from a few meandering detours but succeeds in its goal of elevating its central figure.
Supernatural Academy is both culturally calibrated for 2022 and disappointingly traditional in the treatment of its characters.
In its second season, Euphoria doubles down on its claim as the classiest and most artistic form of the lowbrow high school drama ever.
Landscapers is a tragicomic story that’s more concerned with its insular couple than the motivations of their crimes.
With their new album, Girls’ Generation seems to be determined to give listeners a little bit of everything.