BigYeedus

Honestly, someone should convince Essie Davis and Jennifer Kent to exclusively work together for the rest of their careers making movies about family trauma and spooky ghosts. This was phenomenal. Davis' buttoned-up performance is the opposite of her ferocious one in The Babadook, but is quite powerful in its restraint. She and Andrew Lincoln fully inhabit their characters in their grief and denial, with the few moments of emotional release made worth it because of the established tension between **** film is gorgeous. If you came not for ghosts but epic shots of birdwatching on a scenic and isolated island, then you will also enjoy your time. This experience was moving and a perfect example of how to tell a complete story in a short amount of time. The ghosts were creepy and the suspense was top-notch. Best one out of the anthology, for me.

Buckets of fun. Peter Weller does his best David Carradine impression. Eric Andre does drugs and nails an existential monologue about the emptiness of his life. An ancillary character might be an infamous Middle Eastern dictator? It is completely bonkers and a visual overload from start to finish. The alien creature is well worth the wait and completely gross. Kudos to del Toro for recruiting the guy who directed Mandy and letting him work his magic.

Too languid at times for me to fully enjoy, but it had its moments, especially with the heartfelt relationship portrayed between the main character and his sister. Always good to see Rupert Grint getting these checks, and he's cast well here. Unfortunately, the titular witch isn't that scary. Incredible ending, though.

A welcome oddity. Great lead performance by Barnes). Crispin Glover is, as one would expect, deliriously weird. The time jump works well for the story. The pace can be slow at times. Absolute banger of an ending, though. One of the better outings in the anthology.

Ana Lily Amirpour is a mad genius. Micucci deserves this leading run and nails it, making the viewer simultaneously sympathetic to and revolted by her character. Darkly funny, pinpoint characterization, a cult-leader Dan Stevens, and a banger of an ending. High mark for the anthology.

Early on, it tries to be moody and stately but ends up being a little boring. Then, at a certain point, everything kicks into high gear and it becomes one of the wildest horror tales out there. Abraham is a great get and makes the frankly bonkers task ahead of him seem achievable due to his wisdom and tenacity. This is one easily spoiled, so head in knowing nothing and enjoy the ride.

I appreciated how this one went for broke and just rolled the viewer in filth and greed, but ultimately it didn't live up to some of the other entries. The lead performance did almost too good a job at making the character unlikeable. Great ending, but ultimately this one can be skipped without too much fuss.

Good choice to start the anthology. Gives the viewer a taste of what to expect from here on out: excellent performances, eldritch horrors beyond human comprehension, shocking endings, and some inconsistent pacing. Tim Blake Nelson is incredible and perfectly rides the line of playing an irritable human that nevertheless earns some of our sympathy. I'm not sure I entirely bought the moral implications of the twist ending, but otherwise this is a nasty little exercise in tension and drama.

Admirably high-concept. Doesn't land everything, but what does hit hits hard. The two leads do their best and most heart-breaking MCU work. The special effects are delightful. Kathryn Hahn is a goddamn riot. Randall Park and Kat Dennings return to humorous effect.

Thematically diverse and performed very well. Has jokes and serious material alike and does them both quite well. Admirably high-concept. Doesn't land everything, but what does hit hits hard. The two leads do their best and most heart-breaking MCU work. The special effects are delightful. Kathryn Hahn is a riot. Randall Park and Kat Dennings return to humorous effect.

While it doesn't reach the heights of the original, this is still consistently good television. I appreciate the sense of identity that this project has - this is more about the melodrama and human relationships than pure horror, and the scares are less frequent as a result. It's fun to see some of the performers from the first series play new characters, especially Oliver Jackson-Cohen's menacing turn this time around. T'Nia Miller is outstanding and her showcase episode is the highlight of the series. Good work also by Rahul Kohli. The romance that blossoms over the course of this show is really well portrayed.

A beautiful slow-burn that takes its time enveloping the viewer in the world and characters before ratcheting up the tension in later episodes.

Exceeds expectations in almost every way. One of the best television shows ever, bar none.

A stunning and near-perfect conclusion to one of the best stories ever told on television. Jaw-dropping in every way possible.

Continues to be consistently excellent and features some of the best acting, directing, and writing on television.

Against all odds, this is one of the most complete seasons of television ever. Rules so hard and in every way possible.

Reaches dizzying new heights and takes the characters to places never thought possible.

A breathtaking tragedy from start to finish. Might be the best acting work Bryan Cranston did in the whole series.

Only hints at the greatness to come, but still is an excellent slow-burn of a season that sets the stakes with thrills and good character work aplenty.

A sympathetic Mulder guides the viewer into another chase down the rabbit hole of his obsession. Works well until the end, which comes on a sour note as the mythology stubbornly refuses to give answers to is own detriment.

Really good premise. I'm not sure how i feel about the mythology connections, but it definitely works as a stand-alone.

The "Scully disbelieves until it starts happening to her" trope is a little worn at this point, but this still is a solid enough premise for her to work around.

Another fun story that centers on the Skinny Man. Rip-roaring plot with mythology ties.

One of the funniest episodes in the show's run and a stand-out performance from David Duchovny.

Loopy and fun time travel chicanery. The show is so confident at this point in its run and is fast and loose churning out episodes like this.

An effective mix of compassion and shock. The return of an early fan favorite character works surprisingly well.

The underlying mystery doesn't quite live up to some of the rest of the mythology episodes.

Thrilling race-against-time plot with potent anti-war themes. Tense and full of feeling.

Kicks off a string of really good stand alone episodes. Handles the cultural stuff well.

The Emmy for Gillian Anderson is earned. She portrays so much dignity and determination.

A wild experiment that mostly pays off. Show was so popular at this point that it nabbed Jodie Foster in a voice-only role.

The arguable peak of the show's place in pop culture, this is a brilliantly weird episode with a gross premise and some stunning character moments.

Another shaky episode that attempts to portray a cultural boogeyman. It's fine, but nothing too special.

Tense and menacing affair that reframes the tragedy of Mulder's sister in a much more grounded way. Tom Noonan is vilely creepy.

Has a really nice moment of solidarity between the two leads. They're so good at portraying that relationship.

Another sign of the mythology starting to slip. It's still fun, though. Turn your brain off and enjoy the ride.

A paranoid thriller that is simultaneously character-driven but packed with suspense.

A mean-spirited toss off that looks cheap and doesn't make much sense. Almost seems like a completely different show.

It's a good premise but the execution doesn't quite work. Duchovny does a bit too much and the whole thing ends up being hokey rather than meaningful.

So weird and upsetting it will make you giddy. Tour de force for Gillian Anderson and a nice guest role for Pruitt Taylor Vance.

Not as cringey as it could have been. Perfect example of how the quality of the stand alone episodes has gotten consistently better.

A horror classic in miniature. Honestly stunning that this was once approved for broadcast television. A perfectly baked slice of backwoods terror.

Smartly utilizes a fresh pace and surprising scenery to keep things moving amidst new plot developments.

Continues the theme of great stand-alones with a slowly slipping mythology arc.

Meticulously researched and staggering in scope. A remarkable accomplishment.

Anchored by a gritty Krysten Ritter and a diabolically charismatic David Tennant, this is a tremendously successful season of television that grounds its superheroism in themes of trauma and abuse. Gets uneven in some places, but it never ceases to be entertaining and cathartic.

Goes to some wild places without many answers, but the stuff with Mulder's mom is heartfelt and meaningful.

Bone-chilling descent into paranoia. Evokes the mythology stuff without being directly connected. Good set-up for the finale.

A nice follow-up to "Jose Chung's" that engages with many of the same themes. An all-timer of a scene between Mulder and Scully. Hopeful and resolute.

Some of the character motivations are muddled, but this is a solid thriller. It's nice to see the Skinny man get his time in the spotlight.