“Building on the impressive groundwork laid by Season One, the first half of the new season provides a closer look at the trials and tribulations of the Pfefferman clan and also zooms out, giving Transparent both an emotional claustrophobia and a wide canvas.”
“It’s understandable for viewers to call something ‘overrated’ when they feel let down, however, critics should strike the word from their vocabularies.”
“For all its frenetic editing, energetic performances and twisty narrative structure, there is sadly an elephant in the room, and that’s the film’s treatment (or mistreatment) of women.”
“Featuring a standout performance from Agyness Dean and some of the best landscape photography since Mr. Turner, Sunset Song strikes a balance between toil and ecstasy that is at once overwhelming and completely uplifting.”
“If this is the last hour we spend watching The Leftovers, then “I Live Here Now” is certainly a historic one that successfully doubles as both a season finale and a series finale.”
“Radiator never actually “deals” with any of the lofty existentialisms it digs up, firmly positing that they should remain the unknowable, unthinkable aspects of life.”
“The otherworldly has always existed on the peripheries in The Leftovers, but in “International Assassin,” the physical world and the surreal world truly collide.”
“A triumphant end for a series often mocked by critics for its narrative simplicity and “Young Adult” classification, Mockingjay – Part 2 is the finale that fans deserve. “
“As premature as it might be to say in a review for an initial theatrical run, Carol more than earns the right of comparison to Brief Encounter in terms of quality. Frankly, it’s one of the new great romantic films.”
“On Lost, cliffhanger endings were simply a part of the storytelling structure. For The Leftovers, “A Most Powerful Adversary” is perhaps the episode that bares the most striking resemblance to Lost given the dooming conclusion.”
“The voice of a fictional Ronald Reagan (played with a perfect mix of jocularity and sincerity by Bruce Campbell) looms over ‘The Gift of the Magi,’ setting a tone in the first act that never wanes throughout the episode.”
“In Noah Hawley’s show inspired by the Coen brothers’ work, a high body count and a willingness to laugh at it have been no less a part of the universe, in some ways serving as the most direct connection between the series and the film.”