Bylined reviews with verdicts and scores — newest first. Showing 625–648 of 960 reviews.
★★★★★
Adolescence stages each of its four episodes as a single unbroken take, and the choice is no stunt — it is the argument, trapping the viewer inside a family's catastrophe with the exits welded shut.
★★★★★
Sean Baker's Anora begins as a Cinderella lark and detonates into something far sadder — a whirlwind of comedy, class fury and tenderness carried by a fearless, star-making Mikey Madison. The Palme d'Or and Best Picture were no accident.
★★★★☆
HBO's Game of Thrones dragged fantasy into the realm of prestige drama with brutal political intrigue and unprecedented scale — a landmark whose early seasons are peerless even as its hurried ending squandered a decade of goodwill.
★★½☆☆
Disney's live-action Moana is a lavish act of transcription: Catherine Lagaʻaia shines and Oscar Faura's camera gives the ocean real weight, but Thomas Kail's shot-for-shot fidelity to a ten-year-old classic leaves the remake with nowhere of its own to sail.
★★★★★
My Mister trades K-drama spectacle for something rarer — a slow, hushed study of two broken people offering each other kindness without expectation. Anchored by a luminous IU, it is among the greatest Korean dramas ever made.
★★★★★
China's Nirvana in Fire follows a disgraced army's sole survivor who returns as a frail master strategist to engineer justice from the shadows — an intricately plotted, morally serious historical drama widely regarded as one of the finest ever made.
★★★★½
Bilal Lashari's The Legend of Maula Jatt reinvents a Punjabi folk legend as a blood-soaked operatic epic — a watershed for Pakistani cinema, staged with staggering visual ambition and crowned by two titanic performances.
★★★★★
The Pitt strips the medical drama of its romance and its time-skips, staging each season as a single punishing shift told hour by hour — a formal constraint that turns triage into tragedy and Noah Wyle's weathered attending into the genre's new benchmark.
★★★★½
Mike White's resort anthology opens each season with a body and spends the rest of its runtime performing the autopsy — not of a victim, but of a class, using the luxury vacation as the perfect laboratory for observing wealth with no witnesses.
★★★★★
Netflix's Arcane shatters the curse of the video-game adaptation with hand-crafted, painterly animation and a genuinely tragic story of two sisters divided by a city's class fault line.
★★★★☆
Fallout cracks the video-game adaptation not by transcending its source but by trusting it — retro-futurist satire, splattery slapstick and Cold War dread held in a tonal balance television rarely attempts, with Walton Goggins's ghoul as its leathery masterstroke.
★★★★☆
Silo turns its mile-deep bunker into a totalitarian state in miniature and its mystery into a study of engineered ignorance — slow by design, sealed by conviction, and carried on Rebecca Ferguson's grimly capable shoulders.
★★★★½
The Bear turns a failing Chicago sandwich shop into a study of grief conducted at the speed of a dinner rush, its clattering montage and locked-off close-ups making anxiety itself the show's true subject.
★★★★★
Brady Corbet's The Brutalist is a 215-minute, VistaVision-shot epic of immigration, art and the cruelty buried in American patronage — a monumental swing of a film anchored by a towering Adrien Brody.
★★★★½
The Glory turns a survivor of horrific school bullying into a patient architect of vengeance, unfolding her decades-long scheme with chilly, meticulous control. Song Hye-kyo has never been better.
★★★★★
HBO's The Sopranos turned the American gangster myth inside out, filtering it through panic attacks and a psychiatrist's couch — the novelistic drama that made television an artform and gave James Gandolfini the role of a century.
★★★★½
China's The Untamed spins a lavish tale of two cultivators entangled in rebellion, betrayal and a mystery reaching across the grave — a sumptuous xianwu fantasy whose central bond ignited one of the largest international fandoms Chinese TV has produced.
★★★★★
Andor strips Star Wars of mysticism and merchandise and rebuilds it as a procedural of insurgency — surveillance, prison labour and the grubby arithmetic of revolt filmed with the gravity of adult political drama.
★★★★★
Craig Mazin's five-hour miniseries stages the 1986 reactor disaster as a horror film about epistemology — a state allergic to truth colliding with physics, which does not negotiate — and produces one of the greatest achievements in television history.
★★★★½
Hyun Bin and Son Ye-jin crossed the DMZ in the most beloved K-drama of its era — 95% critics, 96% audiences, and a fairy tale that commits fully enough to earn its tears.
★★★★½
China's Empresses in the Palace charts a naive noblewoman's transformation into the Qing court's most formidable operator across years of betrayal — a sweeping, richly detailed epic considered a landmark of the palace-drama genre.
★★★★★
Walter Salles's I'm Still Here recounts a Brazilian family's survival under dictatorship through the steady, unbreakable presence of a mother — a restrained true story crowned by a luminous Fernanda Torres and a deserved Oscar for International Feature.
★★★★★
FX's Shōgun reinvents Clavell's doorstop novel by quietly shifting the camera off its English castaway and onto the Japanese court around him — a political epic told, at last, from the inside, in its own language.
★★★★½
Slow Horses reinvents the British spy drama from the bottom of the org chart — a service run on grudges and budget cuts, seen from the desk of its failures — with Gary Oldman's flatulent, brilliant Jackson Lamb as the great TV creation of the decade.
