The Revenant is an example of a microgenre, the Ghost Western, a film in which a tormented white, male protagonist must avenge himself so his ghost can rest.
Looking at my list of my 2015 favorites, I still see shows featuring tortured men on the moral razor’s edge, torn between the two sides of their nature — but the cracks are beginning to show.
The change of scene in season two of The Leftovers jolted the show from a meditation on grief into a crisis of conscience — and gave me hope that it won’t spiral into the incoherent plotting of creator Damon Lindelof’s previous show, Lost.
The tagline for the second season of True Detective was “We get the world we deserve.” I’m not sure what I did to deserve this mess of a season, but whatever it was, I’m sorry.
The Golden Age of TV may have ended with the finale of Mad Men, but that’s OK. There’s a new era of TV starting — the era of niche TV — and it may actually be better.
Much of the comedy in this season of Orange Is the New Black comes from mixing up the characters. New, unusual friendships make excellent use of the deep bench of supporting characters, many of whom are outcasts or invisible, or have lost their identity to groupthink.
If the purpose of the retreat is to figure out who you really are, how you feel about that, and how to recognize love, then isn’t it an act of radical honesty and self-acceptance for Don to embrace himself as a person who works best when he spins his dreams into brilliant ad copy?
Both Kimmy Schmidt and Broad City feature socially awkward 20-something women struggling to thrive in New York City. That’s where the similarities end.
Linklater’s concept was ambitious, and I understand the urge to heap accolades on his inventiveness. I wish more established Hollywood filmmakers took such creative risks. But that alone was not enough to lift Boyhood up from an interesting experiment into a life-changing cinematic experience.
Only two serial programs in 2014 really made an impression on me: The Missing and The Affair. And unfortunately for my joie de vivre, both were about how the tragic loss of a child destroys the lives of his parents.