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This should be salacious! We should revel in the seething jealousy and simmering resentments! But there’s not much suspense or engagement in waiting for someone to die, nor in finding out whodunnit.
A loving appreciation, but never a blinkered one, of the punk philosopher, a woman ahead of her time and still timely: iconoclastic, creative, ever-searching, a cultural observer who saw deep and far.
Ostensibly a movie in the same way that a Victorian folly is ostensibly a Japanese temple or a medieval castle. That is: not at all. Like a themed high-school prom from 1994, and an accidental horror.
Dull, earnest fanfic full of halfhearted secret-agent shenanigans and a misguided rethink of Chamberlain the appeaser. Same-old rote, by-the-number World War II–ing we’ve seen countless times before.
Everything about this astonishing, just-plain-satisfying film feels like a revelation. Bone-deep subversive yet universal, dripping with a quiet dread yet also beautiful and beautifully wise.
The deep, honest emotion undercutting the performative toxic masculinity of these young men is beyond charming and vitally essential, but the melodramatic randomness of the plot ultimately lost me.
Monumental. Villeneuve tells a familiar story with uncommon elegance and pensiveness, even dreaminess, on a breathtaking scale. A stunningly gorgeous, supremely dignified movie about ugly things.
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.
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