The film doesn’t relent from showing us how bad things will get if we stay on our current course.
The film is most effective when it isn’t indulging in narrative sleight of hand.
The series swings deftly between glitzy fun and somber reflection.
Atlas seems like a story that should have been experienced with a gamepad in hand.
The series lacks the craft and conviction of the shows and films it imitates.
With each new narrative development, the film’s game of cat and mouse grows more complex.
For a series that features a Trump-esque tycoon in a tale of police brutality, it has very little to say.
Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
In the end, the film reduces Winehouse’s life to little more than a sexist trope.
The film awkwardly pitches itself between a somber drama and antic melodrama.
The film rockets toward an action-packed finale filled with inventive touches and effects work.
The series doubles as both a high-speed comedy and a dark, biting drama.
Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
The series allows us to get comfortable in the familiar rhythms of a detective show just so it can then completely wrongfoot us.
Having Esposito in the driver’s seat prevents the series from spinning out altogether.
The further things go off the rails, the more the film revels in its retro special effects.
Though efficiently directed, the film is too concerned with keeping its main character likeable.
Despite some clunky characterization, the series is an ambitious and inventive piece of sci-fi.
The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
The series uses three distinct perspectives for a rumination on life and death.