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Brash, chaotic, full of bleak humor and bitter irony. With blockbuster vibes over an anarchic indie heart, it’s both earnest and winking. Outstanding in-flight entertainment for our societal freefall.
Hollywood has lost the ability to buckle swash. Guy Ritchie, shamelessly stealing from Indiana Jones, gives us a charmless treasure hunt that feels honed by corporate focus groups and cinematic SEO.
Colorful but flattened and flimsy, which really grates next to how abundantly, uniquely original the first two movies are. Suffers greatly from the lack of their deft whimsy. It’s, well, bearly there.
Unfunny action comedy can’t even pull off sloppy Yuletide kitsch. The anti-chemistry among its likable stars is “bested” only by the ugly CGI. Have some light festive violence — you know, for kids!
Hooray for Glen Powell’s star rising, but this absurdly coy movie — is it a sequel? a remake? — is a cowardly, reckless missed opportunity: it’s deeply baffling that it omits any hint of global warming.
This mess isn’t as clever as it thinks it is, and wastes the small charms of the delicious chemistry between Ryan Gosling and Emily Blunt. Feels like they shot a dashed-off first draft of the script.
It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
A spineless dystopian action drama that defaults to a dangerously irresponsible both-sides-ism; its pretense of “objectivity” is unfair to the journalist protagonists the film thinks it’s championing.
A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.
A vacuous multitentacled exercise in pop-culture marketing, and a crass, confused, charmless showcase for Matthew Vaughn’s goes-to-11 hyperactive “style” of unconvincing CGI and frenetic fight scenes.
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