JFK still stands as possibly the purest camp artifact of American political cinema.
Fast X is closer to fan fiction or self-parody than the real deal.
Universal’s 4K disc captures F9’s big spectacle with a perfect audio/visual presentation.
At its best, F9 delivers the most spatially coherent, dynamic car scenes in the series to date.
The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel production.
The film’s characters are stock types without enough satirical texture to fulfill their function in the narrative.
This bleak and blackly humorous film gets a sharp new 4K transfer and a handful of edifying new supplements from Dark Sky Films.
Dispensing with all notions that Days of Thunder is a critical work of any sort reveals its hollow and misogynistic underpinnings.
At its best, it forgets to be a Marvel movie, casting off corporate shackles to let its freak flag fly.
For all the anticipation and careful setup over the last several episodes, the show’s mid-season finale was somewhat anticlimactic.
The episode’s strongest moments are toward the end, when Rick takes a small team and heads off to Woodbury under Michonne’s lead.
Rick’s storyline is one of several in which characters strike up or rekindle a connection.
It makes better use of its quieter interludes than similar episodes and also offers a handful of isolated standout moments.
Ihe pre-credit sequence lends insight into how the episode amounts to a particularly poignant, if also problematic, entry in the show’s run.
The writers’ decision to limit this episode to Andrea and the Governor heightens the contrast between the two divergent plots.
This is a rogues gallery that runs the gamut from clingy patient to schizo serviceman.
This is the bleak, crazy, postmodern superhero saga that Kick-Ass aspired to be, which doesn’t prevent it from being sluggish, derivative, and beyond obvious.
It’s a stellar work-in-progress—a grisly, thrilling, and uneven take on the zombie apocalypse that’s still finding its footing.
To say that Frank Darabont has kicked his series off with a bang would be a serious understatement.
The post-King era of American racial tension demands better from dramatists than lugubrious historical pageants like this.