
Paddington 2 movie review: wrap yourself up in this bear hug
There is such kindness here, such humanity, such warmth and optimism. This is a fantasy of unique scope and astonishing emotional depth beneath the silliness.

There is such kindness here, such humanity, such warmth and optimism. This is a fantasy of unique scope and astonishing emotional depth beneath the silliness.

Doubly dated, lacking in humor and subtext, its impressive cast deliberately underutilized, this is little more than an exercise in gorgeous production design.

A clichéd loose-cannon cop is on a case of murdered women in faux Norway. And it’s not even a decent procedural. Sexist, pointless, thoroughly awful.

Visually, this dying future world is immersively hellish. Intellectually, though, its ideas haven’t kept up with the rapidly evolving science-fictional conversation.

Style and humor galore, and a hugely entertaining performance from Tom Cruise. But should a true story of immense governmental corruption be quite this fun?

Psychologically risible and paranormally inconsistent heist horror gives us not a single character to like or root for, or even to cheer dying.

Lush sensationalism and Dickensian social justice collide in 1880s London, and if there isn’t quite enough of either, it’s still a slice of satisfying gothic horror.

Tense, gripping, enraging, but only about things that black Americans already know. This is a primer about racism for white people, and we must pay attention.

Fun enough and diverting enough while you’re in the middle of it, but hints of something much richer and more satisfying dangle just out of its reach.

Reluctant-buddy action comedy feels like unfunny, warmed-over ’90s leftovers. Ryan Reynolds and Samuel L. Jackson look like they’d rather be elsewhere.