
‘The Yellow Wallpaper’ renovates classic house of horrors
Even in its deviations from Gilman’s text, “The Yellow Wallpaper” is clearly a labor of love and a declaration of its relevance.
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Even in its deviations from Gilman’s text, “The Yellow Wallpaper” is clearly a labor of love and a declaration of its relevance.
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Here is a guide to some of the more notable TV entries, as well as a heads-up for which shows will be worth watching when they hit the airwaves this spring.
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The film struggles to decide whether it wants to be a thrilling drama or an evocative investigation, and the result compromises both operations.
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The best joys in “Recovery” come from the rarities that mark, sometimes punctuate, time’s passage: the interludes, the waiting music and the moments spent figuring out whether Scott is a “brawny sexpot” or “garden gnome.”
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Some of the most honest moments occur in interviews Wharton conducted with Petty’s daughter Adria Petty, who was also an executive producer for the documentary.
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While predictability is usually the bane of an enticing story, “The Fallout” is sneakily aware of itself, lulling viewers into its steady rhythm then pouncing on them come the close.
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“Sound of Violence” is the sort of film that feels like it was conceived over a joint and a bag of cheese puffs at 2 a.m.
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“The Courier” excellently positions moments in which viewers root for Wynne right before all of his untimely fate, employing bursts of suspense before entirely descending into despair.
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This reductive crime drama centers on a complex and ruinously aimless couple — an opportunity wasted on the Russo brothers, victims both of poetic karma and their own tragically inept work.
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Rather than a chance to evaluate the probability of a girl starting a social movement at her school and succeeding, “Moxie” is a chance to listen to the voice of the unheard.
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