Possible Love
“Possible Love” exists in this space of potential upheaval, devastatingly turning relatable human emotion into possible tragedy.
“Possible Love” exists in this space of potential upheaval, devastatingly turning relatable human emotion into possible tragedy.
You either relish this kind of escapist brutality, or you don’t.
It’s so satisfying to watch because love isn’t treated as a byproduct of a larger story. It is the story.
This show isn’t “Reacher.” The pacing isn’t slower but steadier, darker but less brutal.
Never as satisfying as it could or should have been, even if we didn’t see this story in film earlier this year.
It looks like Perry is officially at the point in his career where he can convince studios to foot the bill on films that are basically expensive getaway trips.
“Last Seen” isn’t perfect, but it does so many of the things right that other thrillers don’t even try to do at all.
There’s no 6-episode anything on television this year that hums like the sixth season of “Slow Horses,” an outing that’s entertaining, suspenseful, and honestly moving.
Breezy but uneven, pleasant but rarely memorable, clever but sometimes contrived.
The series has become the sleek, gripping story promised in the show’s initial announcement.
It’s a movie that mostly works, thanks largely to fluid direction from the pair and a truly entertaining performance from Kenneth Branagh.
No, it doesn’t make any sense. But rehabilitating a selfish failure who’s finally ready to change feels so good.
This isn’t about people remembering 9/11; it’s about the generation that inherited the world created by 9/11.
A singular experience, showcasing the intricacies of music, community, and survival in a time of upheaval.
A couple of memorable performance choices stand out, but they get drowned out by the dull noise that is the majority of this movie.
What was once a mind-numbing, reality-hopping sci-fi becomes a thrilling examination of humanity and belonging.
It’s not edge-of-your-seat stuff, but the mystery keeps our heads cocked to the side, curious as to what the final verdict will be.
It’s multipurpose humor; it makes you laugh, but also tells you something about these characters.
Nason and Gasparro expertly navigate the challenge of telling a lurid story without sensationalizing the details or exploiting the victim.