Breaking down complex and obscure policy arguments into something understandable and interesting  is a rare skill, and Doctorow has it. while the information is occasionally repetitious and the layout can be distracting, the underlying concepts and arguments are clear. to sum up in seven words: Freedom good, laws good, rent-seeking middlemen bad. 

Not as bad as remembered, but far from a classic. Keanu Reeves is miscast, Rachel Weisz can't pull off an American accent and the less said about Shia LaBouef the better, but Peter Stomare and Tilda Swanson steral every scene they're in. plot-wise, far to much mystical Catholicism is used as a crutch for the story when Constantine has been traditionally more of a magical generalist dealing with all manner of spooks and spirits, not jsut religious ones. 

I have very little experience with the character but gave Jeff Lemire the benefit of the doubt based on his independent comics (Essex County especially) although his major label work has disappointed before. Perhaps a figure like Moon Knight is what he needed, one without a large base of expectations that allowed for creativity to shine. Whether the titular star is a superhero or a lunatic remains to be seen, but I'm looking forward to the next volume to find out. 

The first half with a smaller scope and more personal stories was done well. The second with it's yet-again focus on universe spanning threats (now with time travel!)...not as good. 

Beautifully shot and acted, but haphazardly edited and with an ill-defined and indeterminate setting that could span any time from the 1820's to the 1870's, this film was poorly markleted during its theatrical release but deserves a chance. More of a psyclolgical case study than a horror or thriller, the focus is on the titual doctor rather than his more famous monster.  Watch a man driven mad (revealed to be mad?) through his obsession with 'can' rather than 'should'.

Solid continuation to the series with an unusual location and an Agatha Christie fell to the set-up. 

If it was just art and no commentary, it'd be wonderful. Unfortunately the artist's ignorant, self-loathing, mopey, and narcissistic personality shines through in every word. 

The story is ok, naive and simplistic and ignorant, but ok. For anyone familiar with CD's other works, the evident recycling of the material detracts from the overall experience. 

Third to be written but now the 13th in the internal chronology. The contrast to later-written sequels is jarring. Our hero is more mopey, his nemesis is cartoonishly villainous, and a  minor officer's WWJD level of devotion and emulation is unbelievable.

A first-rate, dark comedy that is sadly overlooked. Not without flaws - undeveloped characters, major players introduced only in the third act, unexplained and underdeveloped plot points - but these are overwhelmed by the overt and implied social commentary.  half a dozen of the scenes would make Mel Brooks blush and get other directors lynched today. 

All the expected pieces of a Sharpe novel are here, but there are too many passages where our titular hero vanishes for a dozen pages or more while random battle scenes are described. 

Beware, ye mortals, who would meddle in the affairs of gods.  Gaiman once again takes the familiar bones of our collective folklore and crafts an entirely new classic upon them.  

Yet again, excellent casting and dialogue is wasted on an overly-drawn out and convoluted storyline. For US Marshalls, our lawmen spend more time investigating drug crimes than the DEA and almost no time hunting fugitives. AQll in all the whole is less than the sum of the parts - a sad conclusion to an initially excellent show. 

Juvenile, crude, and wordy...so what you expect from a HQ volume. Nothing special, memorable, or new, but also nothing offensive, indoctrinary or needlessly 'updated'.

Not the worst of the Rebirths, but not one to reread either. The 'terrorism' plot is forced and far to allegorical to be enjoyable in an escapist medium. The idea of the Secretary of State running things rather than the president is ridiculous, and far to many of Arthur's speeches are whiny teenage nonsense and quite un-kingly.

Another clan of criminal rednecks as the  nemesis this go-round is to similar to season two, and the incresingly amoral or immoral behavior of the lead is both disheartening and unbelievable. 

The first entry in the series with which I am disappointed.  It isn't self-contained, the back and forth between the past and present timelines is interesting at first but clunky after a while. The necessary pronoun games needed to keep the past storyline a mystery in the present grow to be ridiculous. The failure to address the expected political fallout from the present storyline is sloppy. All in all, the book is a good idea poorly executed. The whole volume seems more concerned with setting up future stories rather than telling its own. 

Not bad, but not up to the standards of the first three seasons. The stunt casting of Patton Oswalt doesn't fit (even though his performance is excellent). The stories are choppy and don't flow well into one another. The overarching mystery of the season is solved with three episodes left making the remainder feel like filler. And while each of the supporting actors playing fellow US Marshalls of the lead get more screentime, they suffer for it because the extra exposure comes with no added character. They remain sassy and droll, but thats all they are. 

Adding a nuanced and capable set of African American antagonists who are neither caricatures nor stereotypes  - and having it come across as a natural extention of the show's world and not marketing-driven pandering - is a rare feat. Justified pulls it off. 

Building on the success of the first season and adding a  deeply-rooted family of criminals to act as running foils throughout the season, Justified improves on its first season in heartbreaking fashion.