The hyper-kinetic, thoughtful capper to the Jason Bourne trilogy, The Bourne Ultimatum signified a revolution in the action genre — and we’re still feeling its effects.
On its surface, Mad Men is a show about terrible people getting away with whatever they like in a time of white privilege, sexism, and cigarettes. Good thing it’s SO MUCH MORE than that.
A white-knuckle, technically flawless masterpiece, Alfonso Cuaron’s GRAVITY is the theatergoing experience of the year.
With Breaking Bad coming to a triumphant close — depending on who you ask — this past Sunday, it’s time to take immediate, knee-jerk stock of the television landscape and anoint a new MVP: Most Valuable Program. Here are 25(!) series that are vying for the prize. Let’s choose one, shall we?
And so it ends, with a surprisingly elegiac, old-school sendoff for Walter Hartwell White.
It’s a big year for coming-of-age flicks, with the Arkansas-set Mud (starring Matthew McConaughey, in the running for an Oscar nom) and The Way Way Back both drawing critical acclaim. By contrast, The Kings of Summer doesn’t really aspire to much — it’s an extremely simple story, with a lot of funny moments, but it’s missing a payoff.
A review of The Michael J. Fox Show pilot, Pawnee goes to London, and more in a new weekly feature where I rank sitcom episodes based on my arbitrary whims.
A great long-form murder mystery is hard to pull off in the 21st century, because audiences have gotten more cynical and are quicker at putting the pieces together. With entire message boards devoted to theories and speculation as a series like Broadchurch progresses, the “big reveal” at the end will always run the risk of underwhelming (if there even IS a reveal, as The Killing learned to its peril) — but Broadchurch skirts that issue, and does so brilliantly.
There’s an awful lot riding on this one. With the full weight of the Marvel/Disney publicity machine behind it, Agents of S.H.I.E.L.D. can’t be anything less than an out-of-the-box smash. Good news? It’s probably the best drama pilot of the year. Bad news? All it has to be to clear that bar is “okay.”
Certainly an improvement on 2010’s muddled Iron Man 2, the third film in the franchise has a zippy script and a fun twist — but ultimately demonstrates why I’m ready for the suit to be hung up.