A very good cast makes a valiant go of it, but a hugely ambitious experimental novel has been boiled down to a tepid mishmash of genres: social-justice drama + black-comedy heist + sci-fi mind-bender.
Cynical sequel — you know, for kids! — doubles down on the nihilistic money-grubbing of the original. Thinks that being clever and meta about its own disenchantment will win us over. It does not.
Ridiculous excuse for a thriller — obvious, preposterous, ultimately banal — piles on psychological absurdities as it builds from a maddening middle to an enraging crescendo of misogynist nonsense.
An extraordinary cinematic experience that immerses us into the personal landscapes of profoundly autistic, nonverbal young people. The empathy it engenders is deeply felt and enormously eye-opening.
Knee-jerk clichés abound in a shameless retread of The Matrix in which many levels of storytelling ineptitude are the only depth on offer. Can Hollywood please stop reincarnating the same old movies?
I bawled my eyes out in aching nostalgia with this absolutely delightful dive into the creation of the educational TV show and its carefully crafted chaos that had an outsized impact on Generation X.
Come on down for a gen-u-ine American dystopia at the crossroads of end-of-empire and late-stage capitalism. Chloé Zhao’s outsider’s eye is hugely sympathetic but unhindered by knee-jerk patriotism.
Nonsensical Danish thriller concocts absurd connections between the nature of evil and *checks notes* office politics among shallow clichés of women. Preposterously, this is not meant to be satire.
Offbeat portrait of an unconventional girl is all over the place, sometimes detouring into the cringeworthy, as it tries to depict the emotional familial confusion its tween protagonist is navigating.
Pointless adaptation of the beloved children’s novel soaked in a gothic spookiness that seems to deliberately misunderstand the story. Neither literal enough nor magical enough. My heart was unmoved.