The games are fixated on the idea of honor among thieves, but you wouldn’t know that from this antic, meaningless film.
There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
Anthony and Joe Russo’s film can never quite escape the essential hollowness of Cherry as a character.
Throughout, the characters aren’t allowed to reveal themselves apart from the dictates of the plot.
While Onward begins as a story of bereavement, it soon turns to celebrating the payoffs of positive thinking.
Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
It remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.
One of the most beautiful and mysterious of all existentialist adventure films receives a deservedly lush and subtle transfer.
By partially demonstrating what a fresher superhero movie might look like, it underlines its genre-defined limitations.
The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
One comes to resent the film for how it thrills to the possibility of a father hurting his children.
The film is overrated by its cult, but has its charms, which are well represented by this attractive and reverent package.
The literalizing of Ivan Locke’s hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
Fans of the ever-rare “were-cicada” strand of horror film can now own the entire subgenre with this well-produced package from Shout! Factory.
The film never recovers from director Kevin Macdonald’s indifferent staging of a pivotal moment.
The film uses the tropes of countless horror films and thrillers before it to craft a this-is-what-it-was-like theme-park attraction.