Throughout Avengeners: Infinity War, rapidity (of dialogue and drama) is mistaken for actual rhythm.
By partially demonstrating what a fresher superhero movie might look like, it underlines its genre-defined limitations.
Robert Altman’s sprawling tragicomic testament to fate and infidelity gets an impressive 4K upgrade from the Criterion Collection.
The fun of the action scenes exacerbates the failure of the narrative to adequately contend with its own themes.
Joss Whedon’s film struggles against the rigid formula that typifies the Marvel universe, but only does so up to a point.
One long trial of moral duty, and one that excuses repugnant behavior and psychological warfare in lieu of a repetitive, condescending sermon on honoring thy father.
Jon Favreau’s film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
Director Shane Black here replaces his once-acidic spite for government and bureaucracy with a call for corporate responsibility.
This book is comprised entirely of short stories, making it an ideal sampler for those new to Sakai’s work.
Joss Whedon—to some, the standard-bearer for fanboy culture—is a strong, classical stylist in the tradition of Joe Dante, John Landis, and Steven Spielberg.
What I once hailed as the best movie in the history of the world (I was 13) is an uncomfortable thing that doesn’t rank with its creator’s best.
I want to talk about an interesting comic book movie today, but first I guess I should talk about Iron Man 2.