As pastel and glittery as its predecessor, with a silliness more glorious and less forced. Sweet, smart, sincere… but it doesn’t deserve to be carrying the future of movies on its little shoulders.
This instantly forgettable fluff lazily relies on too many unfunny slapstick and grossout tangents. But real humor blossoms in the terrific performances and in a fast, funny, and surprising feminism.
Charming culture-clash rom-com is full of life, celebrating human universals of family and love, and embracing differences that make the world so interesting. Smart and spritely, feminist and funny.
A sly, penetrating zing and a frisson of Insta-influencer horror — of the oppression of performative perfection against a marzipan backdrop — renders Austen’s fluff and nonsense deadly serious.
My pick: The gorgeous “Brotherhood” opens up reductive notions of Middle Eastern cultures in the Western imagination while telling a moving story of family and forgiveness that is quite universal.
Guy Ritchie ups his game on his signature subgenre with a hilariously sublime crime comedy that acts as mirror on the legit world and oozes with crackling cynicism about culture and politics as well.
It’s more of the same tedious nonsense, all action sequences bereft of excitement and body-swap comedy minus any real laughs. An abysmal lack of fun with stakes way too low to generate much suspense.
This plastic horror — horrifically, it’s a musical — is a head-smackingly dumb exercise in corporate filmmaking and mercenary marketing. So crass it makes me rethink my love of the toys themselves.
Painfully stupid faux-woke slapstick that wants to have its idiot male hero and its nods to feminism at the same time. Kids are listening, they are absorbing this garbage, and they deserve better. (now with a brief review of short “Hair Love”)
Much more sweet than raunchy, and surprisingly innocent. Genuinely kind to its young protagonists as they try to navigate a culture that doesn’t much care to protect them from growing up too soon.