Julius Avery’s film, intentionally or not, exposes the political subtext of all other superhero movies.
Consistently surprising and creatively fearless, Jon M. Chu’s film brings monumentality to a work of infinite heart.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Netflix will release the series on May 31.
The bulk of MFKZ is composed of chases and shoot-outs that drive the plot forward at a plodding pace.
The series remains compelling in its devotion to exposing its characters’ public hang-ups and private strengths.
Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
It evinces no interest in the people who come into Max’s store and wind up as fodder for his increasingly violent and self-absorbed escapades.