Snyder’s space epic plays more to his strengths, but it can’t rise above his weaknesses.
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The further things go off the rails, the more the film revels in its retro special effects.
This list is part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.
The film knows that there’s no way of reversing historical trauma, only surviving in its wake.
Med Hondo’s film is a bravura spectacle of intellectual and cinematic daring.
Civil War is intelligent precision filmmaking trained on an impossible subject.
The film is a 105-minute, unchallenged preaching session on the virtues of minstrelsy.
The film reduces the arc of Chisholm’s life to inspirational movie clichés.
The film contains some of the gnarliest violence this subgenre of horror has seen in years.
Y2K is ultimately less than the sum of its retro-styled parts.
Though efficiently directed, the film is too concerned with keeping its main character likeable.
Adlon’s film spins the corporeal realities of pregnancy into heartfelt comic gold.
This un-nice remake takes the business end of a broken beer bottle to the soul of the original.
The film does Nicholas Winton a disservice by reducing his heroics to the stuff of facts.
Few sacred cows emerge unscathed from Hausner’s latest.
O’Daniel’s approach to narrative isn’t so much casual as it is coolly ambivalent.
The film never thinks to lean into the blatant silliness that its premise invites.
At its best, Damsel suggests a dark fantasy riff on Neil Marshall’s The Descent.
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The film exhibits the telltale signs of a series struggling to justify its existence.
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The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
We may as well just light it up and acquiesce to the inevitable all-consuming blast.