This latest entry, directed and co-written by onetime wise-ass action screenplay wunderkind Shane Black (Iron Man 3, The Nice Guys), wears its self-aware humor as a talisman against the predictability of its plot and the gratuitousness of its carnage
Again, Gyllenhaal is the main draw here, turning in a career-best performance, though the emphasis on film makes The Deuce’s sophomore season more self-reflexive and more focused than the first
The film, I suspect, will have some minor historical value, but I fear that watching Stern well up on election night won’t offer much insight to people alive now
White Boy Rick has reams of story to tear through, but at heart it’s a family drama, one more concerned with the Wershes than with crack, the feds or Detroit itself
Decamping to the remote village of Chinchero in Peru, 14,000 feet up in the Andes, with a crew, some of his closest pals, and (apparently) a mountain of drugs, Hopper improvised much of The Last Movie
For the family at its heart, everything seems to be in constant, even terrifying disorder, and yet nothing really changes — not after one son discovers he’s different, not even after dad knocks out mom’s teeth
This is a portrait of a decades-long partnership coming to a head but also of the American literary community reckoning with what so many know to be true: Women are still not seen as “serious” writers or contenders for major prizes
What becomes clear, watching McEnroe harangue line judges and intrusive photographers, is that the rages were birthed in a disappointed agony, a disgust at a world with inhabitants who persistently failed to see what he did
The story follows a gang of misfit criminals escaping to a hideout carved into the rocky Italian cliffside, where an eccentric, society-hating artist, Luce (Elina Löwensohn), and her guests sunbathe and make bullet-ridden art
… Like that of I Love You, America, Cohen’s apparent goal of exploring America’s multitudes belies his show’s actual focus on belittling, baiting or simply giving a platform to white Americans in particular
… Mukwege’s City of Joy is both a hospital for treating physical and emotional wounds and also a sanctuary where victims become leaders of a battle in a fight for humanity
Young Anna (Galatea Bellugi), intense and charismatic in the manner of another teenaged French seer, reports that Mary has imparted to her a message calling for the building of a church and caring for the world’s poor
By coming on so strong, so fevered, Bryan achieves the dubious feat of making his host of documented facts, reasonable inferences and alarming subjects for further research all seem seem less persuasive than if they had been presented more soberly
Its unruly scenes emerge out of disorder, out of chants and shrieks and fractured images, and always threaten to fade back into abstraction
Spastic and impressionistic, Random Acts of Flyness is the free jazz of television, a searing collage of black life in America with a rhythm all its own
Like many Gothic tales, The Little Stranger hangs tantalizingly between genres: It has elements of haunted house thriller, of doomed romance, of psychological thriller, of historical allegory
This is a story of stifling manners and oppressive codes of conduct, where the wealthy “villains” wear a strained smile and an icky sheen of privilege
Most of Nico, 1988 takes place two years before its subject’s death, in 1986, when a now raven-haired Nico (played with an inquisitive weariness by the excellent Dyrholm) tours Europe with a band of amateur musicians desperate for gigs
… I imagined how whatever scene I was watching might have been staged and shot and acted out in a more traditional film — and I was inevitably disappointed by what has been lost …
Peretz could have given each potential pairing equal time in the story, but he sticks with the most evocative of the two; Juliet, Naked has its charms, and they are named Rose Byrne and Ethan Hawke
Army has lost it all and has only himself to blame in this barroom comedy, made by first-time filmmaker Dennis Hefter.
At its best, the show was a canny deconstruction of contemporary late-night comedy, which has been swamped with political satire since Stewart, the former Daily Show host, turned Bush-era liberal outrage comedy into its very own TV genre
