If “Elevator” proved a sweet treatise on being with someone to stave off loneliness, “Pamela” at last lets Louie ease his way into a real relationship.
Game of Thrones tends to peak with its penultimate episode, leaving finales open to operate as a form of self-summary.
For the most part, however, the episode unspools as a dreary, clichéd story about Louie’s first exposure to pot.
This minimal setup stands in sharp contrast to the previous season’s showstoppers.
The 4K transfer makes the film look better than ever.
The final film in Antonioni’s modernist trilogy comes to Blu-ray with a sparkling transfer.
It takes the aesthetic premise of Louie, in which the world around its protagonist matches his passive, fatalistic outlook, to its logical extreme.
The episode isn’t so much a lead-up to the showdown promised by its title as a delay of game.
Parts four and five of “Elevator” devote nearly half their running times to extended digressions.
Criterion’s upgrade of Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
“Elevator Part 3” finds Louie displaying darker facets of his personality.
The episode’s saving grace lies in the contrast that the series continues to develop between the two young women of the Stark family.
Kiarostami’s film comes to the Criterion Collection as perhaps the most elegant reference disc ever made.
Louie offers a chance to reconnect with Louis C.K.’s roots as a more modest performer.
The unifying element of “The Laws of God and Men” may be the profound silence of the show’s architecture.
Ford’s bitter revisionist western is a must-see for fans of the director, as well as those who mistake him for a soft sentimentalist.
The title of the season-four premiere is possibly a wry acknowledgment of Louie’s return after a year-and-a-half hiatus.
One of Eastwood’s best films comes to high-def with an aggressively scrubbed image that robs it of some of its beauty.
Only Michelle MacLaren’s brilliantly composed coda with the White Walkers sticks in the memory.
As with any episode of television that bears Michelle MacLaren’s directing credit, “Oathkeeper” does not merely look good.