Villeneuve’s film is a milestone of precision craftsmanship on a gargantuan scale.
The film exists largely to be replaced by the next shiny thing in the MCU conveyor belt.
The film’s weighing of individual right to life against global survival isn’t an easy exchange.
The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
Across Taika Waititi’s Thor: Love and Thunder, a war against the gods feels like an afterthought to a bad rom-com.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
Dune Review: Denis Villeneuve Epic Collapses Under the Weight of Its Self-Seriousness
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
The film’s masterful prologue writes a check that the remainder of this very long, very indulgent film labors mightily to cash.
Peter Segal’s film is pulled in so many different directions that it comes to feel slack.
The film is defined by its straight-faced attachment to outmoded ideas about masculinity and law enforcement.
The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.
Like the film, Dave Bautista’s Knox is a copy of a copy, shorn of the details that distinguish a true original.
Its future setting is an empty pretext for a banally convoluted and sentimentalized show of emotional restoration.
Throughout Avengeners: Infinity War, rapidity (of dialogue and drama) is mistaken for actual rhythm.
Blade Runner 2049 is so terrified of disreputability that it renders itself dead from the waist down.
Cary Murnion and Jonathan Milott’s Bushwick is a genre film with a refreshing sense of political infrastructure.
The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel production.
A beautiful presentation of a film that merges the tropes of the 007 series with a startlingly expressive aesthetic.
Scott Mann’s film gets by on chutzpah, growing more diverting with every ludicrous plot twist.
There’s much to admire here, from its symbolically sickly aesthetic to its clearly shot action sequences.