[Editor’s Note: The following review contains spoilers for “The Leftovers” through Season 3, Episode 5, “It’s a Matt, Matt, Matt, Matt World.”]
Immediate Reaction
When Damon Lindelof said “The Leftovers” had “more dongs than ‘Game of Thrones,'” oh boy did he ever mean it. Even before the massive, 11-hour, seaward orgy began, “It’s a Matt, Matt, Matt, Matt World” kicked off with a buck naked French sailor running full speed down the narrow corridors of his ship, his penis bouncing between his legs in slow-motion. Rarely has the male body been celebrated so thoroughly on television, and we applaud the feminist spirit of Lindelof and director Nicole Kassell, who made sure for every bare-breasted woman with only a lion’s tail covering her backside, there was a man whose front-side tail was given the same unflinching attention.
But even more than the equality, we remain impressed — perhaps more so than ever — with how well “The Leftovers” blends absurdity with substance. Among the people in headdresses and people getting eating by lions (Ok,...
Immediate Reaction
When Damon Lindelof said “The Leftovers” had “more dongs than ‘Game of Thrones,'” oh boy did he ever mean it. Even before the massive, 11-hour, seaward orgy began, “It’s a Matt, Matt, Matt, Matt World” kicked off with a buck naked French sailor running full speed down the narrow corridors of his ship, his penis bouncing between his legs in slow-motion. Rarely has the male body been celebrated so thoroughly on television, and we applaud the feminist spirit of Lindelof and director Nicole Kassell, who made sure for every bare-breasted woman with only a lion’s tail covering her backside, there was a man whose front-side tail was given the same unflinching attention.
But even more than the equality, we remain impressed — perhaps more so than ever — with how well “The Leftovers” blends absurdity with substance. Among the people in headdresses and people getting eating by lions (Ok,...
- 5/15/2017
- by Ben Travers
- Indiewire
1. “Master of None” (available May 12)
Why Should I Watch It? Aziz Ansari’s debut original series arrived in its first season as a progressive-minded, discussion-oriented, diverse, smart, cinematic, and very, very funny comedy. It’s honestly hard to imagine what more you could ask for a new television show these days, if only considering how many shows are begging for your attention. “Master of None” earns it, and quickly. Season 2 looks to be more of the same — meaning different, which is what we need.
Best Episode: Netflix has a tight lid on Season 2 episodes, but the embargo on reviews lifts Wednesday, May 3, so expect to hear a lot more in a few days.
Best Episode of Season 1: Episode 2, “Parents”
Read More: ‘Master of None’ Season 2 Trailer: Aziz Ansari Heralds His Small Screen Return With Big Screen Flair — Watch
2. “House of Cards” Season 5 (available May 30)
Why Should I Watch It?...
Why Should I Watch It? Aziz Ansari’s debut original series arrived in its first season as a progressive-minded, discussion-oriented, diverse, smart, cinematic, and very, very funny comedy. It’s honestly hard to imagine what more you could ask for a new television show these days, if only considering how many shows are begging for your attention. “Master of None” earns it, and quickly. Season 2 looks to be more of the same — meaning different, which is what we need.
Best Episode: Netflix has a tight lid on Season 2 episodes, but the embargo on reviews lifts Wednesday, May 3, so expect to hear a lot more in a few days.
Best Episode of Season 1: Episode 2, “Parents”
Read More: ‘Master of None’ Season 2 Trailer: Aziz Ansari Heralds His Small Screen Return With Big Screen Flair — Watch
2. “House of Cards” Season 5 (available May 30)
Why Should I Watch It?...
- 5/1/2017
- by Ben Travers
- Indiewire
Some films, and filmmakers, just can't catch the right kind of breaks as far as international reputation goes. A very smart United States distributor circa 1959 or '60 or so, recognizing this film's potential to be marketed as a kind of companion piece to Truffaut's then red-hot Les quatre-cent coups, could have brought it to the art-house circuit and made a fair profit, and introduced a new (as far as features were concerned) and exciting French director to stateside cinephiles. But that didn't happen, and for years Georges Franju's debut feature, La tête contre les murs, has lived in our imagination as a tantalizing must-see, and at the same time somewhat subordinate to his better-known, more "fantastic" films, such as Les yeux sans visage and his playful rethink of Judex.
- 10/6/2009
- MUBI
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