Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
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In "Ten Knots," the promising first hour of season two, Soderbergh's artistic and technical choices provide a satisfying catch-up with all of The Knick's major characters.
Never mind the difficuly-men tropes; [season one] was a must-see moody dream piece, and with this solid second-season premiere, The Knick appears ready to build even further on that foundation.
It's a dizzyingly elegant and impressive start.
The new season isn't three minutes old and there's already a vom-worthy nose job. That'll do, pig.
The criss-crossing between more than a dozen characters eventually felt well-constructed instead of disparate and that vibe continued throughout "Ten Knots," as the characters were more geographically dispersed than ever but linked thematically.
It's the resolve to move forward and achieve the impossible, and do what has never been done before that drives these characters. And that pioneering spirit is also what makes The Knick such fascinating and endlessly watchable show.
It seems that Nurse Elkins is going to get her wish-her days are not going to remain mundane for long.
At both the start and the close of tonight's second-season premiere of Steven Soderbergh's gruesomely gripping drama The Knick, we find ourselves asking the same question: Who's that girl?
It's hard to avoid feeling like the same issues of dramatic proportion and temporal flow that dogged the first season remain.
The structure is generally the familiar cable-drama hop, skip and jump among intertwined story lines. But... Soderbergh constructs a seamless, shimmering, restlessly propulsive visual narrative that can fairly be called poetic.
All praise be to Clive Owen yet again, for finding those new shades and new depths in his portrayal of Thackery.