The Inside Is Now the Outside: Kiyoshi Kurosawa’s ‘Cure’
“Memory and identity are inextricably linked.”
“Memory and identity are inextricably linked.”
A Column by Max Bledstein
“If The Wrath of the Lamb doesn’t quite work as a series finale, it’s only because it wasn’t really supposed to be one.”
“Another week of Hannibal, another gripping second act septic.”
“Instead of merely asking viewers to care about a victim with whom we have no ties, Fuller tugs on our heartstrings by having his antagonist target the family of the protagonist we’ve gotten to know for nearly three full seasons.”
“If last week’s “The Great Red Dragon” was centered around the two killers who now share the villainous duties on Hannibal, “And the Woman Clothed with the Sun…” has a broader focus.”
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“The sound of Hannibal has always been one of its strongest elements, thanks in large part to Brian Reitzell’s terrifying score, and the auditory depiction of Dolarhyde’s plight is no exception.”
“Digestivo” feels almost like a bottle episode due to its concentration on Mason’s Muskrat Farm, and the close quarters are the perfect setting for seeing the characters play off one another.
“Perhaps the water from the beginning of the episode points more towards resurrection than forgiveness, and if the rest of the season is as strong as “Dolce,” one can only hope Hannibal’s fate will point in the same way.”
“As the plot of Hannibal continues to move forward, it also won’t stop looking back.”
“This week’s hour was the first of the season not directed by Vincenzo Natali, and his aesthetic sensibility/attention to detail feels missing throughout the episode.”
“Hannibal’s origins become comparable to the Joker in The Dark Knight: there are possible explanations for why he is the way he is, but none of them seem to be wholly accurate…”
“After the intense aesthetic focus of last week’s “Antipasto,” Hannibal’s shift in character focal point for this week’s “Primavera” brings with it a different thematic center: religion.”
“Without a definite timeline to hold onto, we’re left to focus on the visual minutiae, and, as always, this might be the most fascinating aspect of Hannibal.”