Don’t Say Good Luck Review: When the Show Must Go On Hurts
Sophie Birenbaum learns that her mother’s cancer has returned because her father accidentally phones her while she is waiting to...
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Sophie Birenbaum learns that her mother’s cancer has returned because her father accidentally phones her while she is waiting to audition for Waitress. The timing is cruel enough on its own. What gives the scene its real charge is the way the information follows Sophie onto the stage. She sings anyway, carrying fear she has barely had time to understand into a performance that unexpectedly wins her the lead. That collision gives Don’t Say Good Luck its strongest idea. Sophie's family is moving toward a loss that will reshape every part of her life, while school continues to demand rehearsals,...

Reykjavík turns nuclear strategy into a question of distance. Michael Russell Gunn’s The Brink of War places Ronald Reagan and Mikhail Gorbachev across a wooden table and lets each concession alter the geometry of the room. The stakes are planetary, yet the drama works through smaller measurements: how long one man holds a position, how quickly the other tests it, which principle survives contact with the possibility of an agreement. When the film later shortens the table as compromise draws nearer, the gesture is almost comically literal. It also exposes the film’s best idea. Peace here exists through relation. Neither...

Decades of explosions become surprisingly persuasive evidence once Wile E. Coyote walks into a law office carrying a grievance instead of another Acme gadget. His body has always been the joke: stretched, flattened, scorched, dropped from cliffs, then restored in time for another attempt at the Road Runner. Coyote vs. Acme finds unexpected character inside that repetition. Each disaster now belongs to a history of failure, and Wile's decision to sue the company responsible for his equipment turns cartoon punishment into accumulated frustration without spoiling its comic rhythm. That balance depends heavily on Wile remaining Wile. He never needs a...

Jack Reacher can solve a room faster than Season 4 can explain why he is in it. The imbalance becomes the season's defining gamble. Physical problems stay wonderfully simple: someone blocks a doorway, reaches for a weapon, or makes the mistake of assuming size has made Reacher slow. The larger case works differently. A woman's death on a Philadelphia subway leads toward a missing pen drive, then toward crooked police, intelligence interests, political figures, hired muscle, and competing agendas whose relationships remain murky for a long stretch. That murk gives Alan Ritchson's Reacher a useful problem. His body has rarely...

Frankie can figure out stolen cable; Molly can turn odd ingredients into an edible experiment; the world around them still seems determined to classify both women as idiots. Their Los Angeles apartment, Casa de Chill Zone, is cluttered with a Bong-o-Tron, cat infrastructure, improvised décor, and the kind of domestic engineering that makes conventional adulthood look suspiciously unimaginative. The Wrong Girls keeps returning to that joke: two women who appear hopeless by ordinary standards have built a life with its own logic, competence, and pleasures. Dylan Meyer’s film gives that life a suitably ridiculous threat. Frankie, an engineering-school dropout working...

Greg’s hidden bottles and Denise’s basement manuscript tell the same story from opposite sides: the Platt house has already failed as a place of safety before anything with claws reaches Oak Street. The End of Oak Street then performs a wonderfully ridiculous act of literalization. It takes a family held together by routine, secrecy, and the social theater of 1982 suburbia, lifts the neighborhood into a prehistoric world, and asks the walls to defend the arrangement. David Robert Mitchell first makes those walls look reassuring. The block party, roaming bicycles, compact homes, period furniture, and easy neighborly rituals build a...
Sophie Birenbaum learns that her mother’s cancer has returned because her father accidentally phones her while she is waiting to...
Read moreDetailsReykjavík turns nuclear strategy into a question of distance. Michael Russell Gunn’s The Brink of War places Ronald Reagan and...
Read moreDetailsDecades of explosions become surprisingly persuasive evidence once Wile E. Coyote walks into a law office carrying a grievance instead...
Read moreDetailsJack Reacher can solve a room faster than Season 4 can explain why he is in it. The imbalance becomes...
Read moreDetailsFrankie can figure out stolen cable; Molly can turn odd ingredients into an edible experiment; the world around them still...
Read moreDetailsDamon Wayans is checking into "St. Denis Medical," reuniting with his former "In Living Color" castmate David Alan Grier for the NBC comedy's third-season premiere. Wayans will play Dr. Highland, described by the network as a charming but pompous physician who steps in while Grier's character, Ron, recovers from heart...
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Read moreSophie Birenbaum learns that her mother’s cancer has returned because her father accidentally phones her while she is waiting to audition for Waitress. The timing is cruel enough on its...
Reykjavík turns nuclear strategy into a question of distance. Michael Russell Gunn’s The Brink of War places Ronald Reagan and Mikhail Gorbachev across a wooden table and lets each concession...
Decades of explosions become surprisingly persuasive evidence once Wile E. Coyote walks into a law office carrying a grievance instead of another Acme gadget. His body has always been the...
Jack Reacher can solve a room faster than Season 4 can explain why he is in it. The imbalance becomes the season's defining gamble. Physical problems stay wonderfully simple: someone...
Frankie can figure out stolen cable; Molly can turn odd ingredients into an edible experiment; the world around them still seems determined to classify both women as idiots. Their Los...
Greg’s hidden bottles and Denise’s basement manuscript tell the same story from opposite sides: the Platt house has already failed as a place of safety before anything with claws reaches...
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Sam Pollard understands that Desmond Tutu’s optimism only matters if the film shows what it had to survive. That choice gives Tutu its shape. Rather than treating the Archbishop as...
Pointing a ship toward a distant planet and simply letting it fly changes Starfield in a way that sounds almost...
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