Ritchie’s action-comedy never quite settles on what type of film it wants to be.
The film’s lack of charm prevents it from transcending the thinness of its high-concept premise.
Season two of The Witcher allows a deeper exploration of the forces motivating its characters.
The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
When Enola Holmes teeters, it’s due to an unwillingness to commit to an audience.
The series taps into violence like a lifespring, finding its footing with energetic fight sequences.
The film is so clichéd and scattershot as to make Copycat look like Peeping Tom by comparison.
The film receives one of the best blockbuster home-video releases of the year—and just in time for the holiday season.
Fallout’s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
Unwittingly perhaps, Sand Castle reveals itself as a microcosm of America’s foreign policy in the Middle East.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.
An origin story, apologia, and harbinger of a second expanded universe of overpopulated action bonanzas.
Temperamentally, Guy Ritchie aligns more with the lithe, James Bond-like Solo: detached, above-it-all, eternally cool under pressure.
Like a Brazilian wax for the brain, Zack Snyder’s divisive reboot of the Superman franchise will continue to obliterate your senses in this impressive combo package.
All its faux-patriotism isn’t played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
The Cold Light of Day relates more or less the same story as Robert Rodriguez’s family-friendly Spy Kids.
The new poster for Man of Steel is an exercise in tedium.
Dashing across the screen in all its bloody, gilded glory, the awesome and beautiful Immortals marks an all-win scenario.
If it’s going to be a lark, why doesn’t The Tudors at least continue to entertain us by playing around with the truth even more?