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In DC Comics’ latest comic book limited series, “Heroes in Crisis,” the trauma of fighting crime casts a long shadow: At a clandestine hospital, superheroes get treated for post-traumatic stress disorder. But when its patients are murdered, it’s up to Wonder Woman, Superman and Batman to find the killer.
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While most heads are turned toward which shows will be nominated, there are bound to be equally as many noteworthy snubs.
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“Avengers: Infinity War” heralded the start of the summer movie season, kicking off a four-month period in which CGI spectacle reigns supreme.
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There’s little to bicker about with a film like “Lean on Pete,” which makes for an engrossing and resonant experience. Bring tissues.
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Whether on our laptops or in our living rooms, television has always been a space of escape, in which our ideologies are reflected back to us.
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“It’s like watching a kid ride on his bike and fall on his face. … It’s not a work of art. It’s just bad. And I love it.”
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Ultimately, “Twin Peaks: The Return” is either a profound masterpiece or a simultaneously auspicious and egregious cop-out.
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The lights in the home flash and the image cuts to black, before slowly fading to an image of Laura whispering into Cooper’s ear in the Black Lodge as the credits roll.
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The episode begins with a scene between Cole, Agent Rosenfield (Miguel Ferrer) and Agent Preston (Chrysta Bell), just after they’ve shot Diane — which we saw last week.
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Meanwhile, Dougie’s house is a pretty hoppin’ place — Chantal and Hutch, and now the Las Vegas FBI as well, watch from across the street as several waves of people show up to deliver food and other niceties to the family.
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