The parallel plot — maybe the real plot — percolates just below the surface: the meta-textual challenge of figuring out how the HBO Perry Mason will morph into something resembling its CBS progenitor.
Roy Cohn was much more pernicious than Joe McCarthy because he was far more adept at undercutting the relevance of so-called American values.
To its credit, this “true crime” documentary treats the tragedy of each victim with empathy and respect.
HBO’S Barry has finally started to hit its stride as a mirthfully dark comedy/drama.
Crashing shows us how Holmes’s innate sweetness and affability carries him through the awkwardness and indignities of being a working comedian.
The more we hear Jane Fonda’s homilies about needing to be “whole” and “self-actualize” the more her personal journey sounds more like a succession of carefully calculated branding exercises.
One of Barry’s strongest attributes is its brand of dark, surreal, and unexpectedly witty satire.
What we don’t learn very much about is Elvis’ inner life, his motivations, and his deeper ambitions.
Gary Shandling’s life and art are both given the redeeming appreciation they deserve.
What we want is for Al Pacino to convey something deeper, something illuminating about the fall of the hero from the highest reaches of the gods.