TIFF 2017: Don't Talk To Irene Review.
Who really killed Hannibal's fourth season and how can we keep other fan-loved shows alive?
“The Wrath of The Lamb,” was not made to be Hannibal’s final episode, but it is, and it’s a perfect one at that.
"The Number of the Beast is 666" puts Jack Crawford in the role of God and asks Frederick Chilton to reflect on his faith.
In "...And the Beast from the Sea" Hannibal Lecter goes Old Testament on the Graham family with a little help from his friend, Francis Dolarhyde.
“... And The Woman Clothed in Sun” is the first Red Dragon adaptation to truly capture the essence of Francis Dolarhyde, despite there being two films based around his moonlit killing spree.
“...And The Woman Clothed With the Sun” is all about the pathos of wanting a family.
The back half of Hannibal's final season will be the most artful telling of a conflict older than living memory: vampires versus werewolves.
Hannibal is a show about the pain of empathy, and "Mizumono" hurts. The finale brings the Ravenstag story arc to a conclusion in a brutal way.
When it comes to understanding exactly what to expect from Hannibal, the two most important characters are symbolic representations of who Will Graham and the titular serial killer are not. At least not anymore.
“Tome-Wan” is Hannibal at its most distilled and sustained. Showcasing the series’ underlying dark humour, this is the tightest, most mesmerizing hour of the series. To use the words of Mason Verger: I am enchanted and terrified.
“Ko No Mono” shifts to an unreliable narrator, allowing us to experience the first truly heartbreaking moment in Hannibal. Using the most iconic image from Red Dragon, we also get a glimpse at who’s really pulling the strings in this show.
In addition to being Hannibal’s most self-reflexive hour, “Naka-Choko" features a really steamy sex scene that takes place in two separate rooms and involves four humans, a theremin, and a Manstag.
In “Shiizakana” we are asked to forget the fast paced, twisty-turny, Will Graham-on-trial arc that velocitized our television watching appetites earlier this season, and to get used to the emotional and psychological contemplation of the now classic Hannibal as an episodic nightmare format.
In “Su-Zakana” the cocoon constructed of mystery novel pages, fond pop-culture memories, Hollywood disappointments, and countless other symbols that once encased Hannibal has cracked open, and out of it has come a new and unpredictable kind of butterfly.