Whether you find Schaeffer’s work to be brilliant or incredibly awful, there’s no denying that it takes a certain kind of filmmaker to be able to draw that kind of strong sense of appreciation or distaste, and those are typically from directors who put a lot of themselves in their work.
A number of characters find themselves ignoring the inevitable in another terrific Fargo episode.
With the first season of Fargo, Noah Hawley and company did something unheard of in television: he took an iconic American film, and turned it into a better TV show, adapting the dark, twisted humor of the 1995 Coen Brothers classic into a show that both felt abundantly familiar, and wildly original.
Noah Hawley’s Coens-inspired anthology series is back and it’s shaken off what little didn’t’ work the first time around for a fresh, funky new tale of small-town violence and intrigue.
Vincenzo Natali, who directed last week’s episode, returns as director for the finale and presents the best-looking episode of the series so far.
The season finale can’t come soon enough; interpret this as a very positive statement. Several episodes this season have fallen flat as a result of not making the most of their time slot.
Eichorst is a monster. This has been made very clear. He’s a former Nazi. He serves an ancient evil who wants to transform the world into his brood. He’s a strigoi, making him a literal monster.
Kurt Sutter has been a familiar name to fans of television and FX for a number of years, and the channel wasted no time in bringing Sutter back onboard after the end Sons of Anarchy, giving a series order greenlight to his new series, The Bastard Executioner.
“The Assassins” is an episode whose (practically) every moment is packed action, drama, and even melodrama. With the season drawing to a close in just a few episodes, it’s no wonder why.
Vaun’s death at the beginning of the season solidified Gus’s determination to serve only himself. However, it seems as if fate says otherwise. When Quinlan tracks him down and gives him an ultimatum, it’s clear that Gus has a special calling.
While musing over how the story has progressed so far in the second season, something came to light: it’s no wonder that side characters in The Strain have a habit of not living very long once they come into contact with any one of our band of heroes. Sometimes the loss is effective—the deaths of Leigh and Fitzwilliam in last week’s episode are still worthy of lamenting because their characters had been defined.
There is a frustrating trend in the treatment of a recently introduced character in The Strain, and “Identity” warrants a more detailed analysis of her. She is the daughter of the Tandoori restaurant owners and a key character in the intersection of Gus and Angel’s character arcs: Aanya.
Here’s a recap of what happens in “Quick and Painless”: Ephraim goes undercover to take Nora’s and his findings to Washington DC, Nora and Dutch negotiate Fet’s release from police custody, Abe consorts with a rare item-finder who should have his own Discovery channel show, and Palmer and Coco get close. That’s it. This week’s episode is sadly underwhelming for a series with so many interesting plot points to expand upon.
The cold opening of episode four connects itself to The Strain in three different ways. The relevancy of the first two to the series are easily discernible. First, the narrative of the black-and-white lucha libre B-horror and the present day horror drama series share the same major conflict: human vs vampire.
Danger escalates within season two’s first three episodes as inter-state highways are closed off and travel becomes heavily regulated. The constant sound of sirens and gunfire mixed with panicked voices in the background serves as a relentless reminder of how quickly humans are succumbing to The Master’s plan.
A shaggy, loose season comes to an appropriately low-key, ramshackle conclusion.
An episode that might reasonably be defined as “cute” finds room for hints of darkness and pathos on the periphery.
A less-than-satisfying episode gives itself over completely to the show’s surreal side.
A delightfully thorny episode probes gender roles, sexual intimacy, and what lies beyond emasculation.
FX has officially put in a pilot order for a new series from Gillian Robespierre and Elisabeth Holm. News of the duo, who previously collaborated on the 2014 feature Obvious Child, working on a show for the channel was previously announced, and the formal order also solidifies the involvement of Obvious Child star Jenny Slate in …
A familiar but engaging episode features a perfectly-cast Michael Rapaport as an overbearing, insecure cop from Louie’s past.