Fast X is closer to fan fiction or self-parody than the real deal.
The film sands down everything that made DnD a massive success in the first place.
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.
Time and again, Crisis shortchanges the human elements of its plot lines.
Heidi Ewing’s tale of immigration and deportation afflicting the lives of a Mexican gay couple flashes its reason for being at every turn.
Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
Fox’s Blu-ray may be the reference disc of the year so far, with unimpeachable audio and video and a host of strong extras to boot.
The film’s action boasts some of the most sturdy, coherent direction to mark a giant-scale blockbuster in some time.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The film concerns four women who take fate into their hands in the wake of their criminal husbands’ deaths, forging a future on their own terms.
The film finally tips the franchise over from modestly thoughtful stupidity into tedious, loud inanity.
It’s content to be the sort of film parents can throw on an iPad to ensure 90 minutes’ worth of relative peace and quiet away from their antic children.
The insensitivity of director Walter Hill’s The Assignment springs from an over-abundance of caution.
The film’s dialogue is entertainingly hard-boiled, and the performances knowing without ever being arch.
It lays bare that the franchise’s most radical asset is also its most conservative: an overriding emphasis on, above all else, the on-screen family.
The tawdriness of the 2010 film has been tempered substantially in Machete Kills.
As a film about social issues, and simply being yourself, it’s commendably progressive, going so far as serving as a kind of coming-out story.
People who saw the film wondered if they met up again. So did the filmmakers.
Justin Lin strives to approximate something like Ocean’s Eleven for petrosexuals.