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Perhaps the show struggles to completely recapture the lightning in a bottle it found with its first season, but that doesn’t change the fact that it delivers a half-hour of heartwarming comedic television every week.
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Much like its subjects, the film’s appearance has only a cursory relationship with its deeper internal meaning.
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Sob Rock is not a bad album; it’s an unremarkable one — the few places where Mayer does try and succeed at something new are overshadowed by the rest of the record’s stale, formulaic songs.
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The second season preserves the first’s refreshing genius and builds on it, injecting the show’s inimitable spirit into new situations and characters throughout 90 minutes of the funniest, most inspired sketch comedy television currently on air.
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Despite its familiar construction, “Hacks” is a deceptively unique, subversive series that carves out yet another new niche in the comedy television genre.
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The new incarnation is mostly unrecognizable: It’s a mature, refreshing departure that sacrifices pizzazz for profundity and cutesiness for craftsmanship.
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The film entertains with ease and even manages to tug on a heartstring or two throughout. At a breezy 100-minute runtime, it’s a perfect film to start the summer.
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I look forward to what lies on the other side of a lifetime of thought and effort, that conscious understanding that will never leave me.
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No film unambiguously swept the Awards, though the biggest winner of the night was “Nomadland,” taking home trophies for best picture, best director and best actress.
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So although this year’s Oscars may feel like a pyrrhic celebration of 2020 in film, they’re also a chance to take stock and remind ourselves of what film gives us and what it adds to our lives.
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