Both films pop with color and brightness on Criterion’s 4K transfer.
Kenneth Branagh’s third Agatha Christie adaptation is a dusty, dry, and sluggish affair.
The show’s most powerful moments come from its small cultural specificities.
With this category, we realize that precedent is increasingly illusory.
The film works magic by embracing excess, finding a kind of harmony and possibility within it.
After a first hour that may well hit Zoomers and their millennial parents in the feels, Turning Red gradually runs out of steam.
On screen, Shang-Chi is rotely defined by the same “gifted kid” impostor syndrome as so many other self-doubting MCU heroes before him.
The fundamental ineptness of Gunpowder Milkshake appears to be a consequence of the exponentially swelling glut of streaming options.
The show’s third season plays it ideologically and conceptually safe.
There’s a lack of concreteness about the story and characters that render its reiteration of Christmas lessons utterly toothless.
The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.
The filmmakers mine a good deal of satirical humor from their characters’ thirst for extravagance.
Morgan’s makers lose trust in the intellectual heft of their material and chose to prioritize empty sensation instead.
Sword of Destiny has an appealingly inventive, unruly party streak running down its figurative back.
If The Lady never quite blossoms in the way one might hope, it’s largely because its subject has never been allowed to either.
Sleeping Beauty is enervated, ludicrous, and the sort of unique debut that makes one impatient to see what comes next.
Jennifer Yuh’s Kung Fu Panda 2 is an exquisite looking but substantially hollow sequel to the smash hit from 2008.
No one watches martial-arts movies to learn lessons.
Babylon A.D. seems like the aftermath of an artistic apocalypse.
The Mummy: Tomb of the Dragon Emperor makes the first two Mummy films seem like The Godfather I and II.