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As credulous — or con-artist cheaty — as its demon-hunter protagonists, but lacking their charm. Worse, it can’t even be bothered to justify and satisfy the procedural approach to its mystery.
Ejiofor and Hathaway are game, but they’re grasping for something solid, and don’t find it. A deeply unsatisfying novelty artifact of the pandemic that fails to create a necessary sense of transgression.
A vicious, delicious Hollywood sendup, deconstructing — like a wrecking ball deconstructs — indie filmmaking, cinematic violence, and the industry’s treatment of women. Write what you know? Hoo boy.
The story of the women duped into *checks notes* killing Kim Jong-un’s brother is more bonkers — and sad, and gripping — than we’ve heard. Utterly fascinating; the stuff of a Hollywood thriller.
A disaster of a kids’ fantasy caper; feels like it’s making up the plot as it goes. A mishmash of manufactured wonder: characters barely sketched, action seemingly setting up future DisneyWorld rides.
The hugely appealing Issa Rae and Kumail Nanjiani share terrific comic and romantic chemistry and work their everywoman and -man charm to the max. Go-to goofy escapism for, say, a pandemic lockdown.
Wild sass, gentle comedy, shivs of poignancy, and instantly vivid characters add up to a wonderful riff on mob movies as a Chinatown granny faces off against gangsters. Tsai Chin is an absolute hoot.
A laugh-until-you-cry dramedy burlesque, brilliantly structured and horrifically compelling, about the endless grift that passes for an economy in America. Hugh Jackman is at the peak of his powers.
Who are we rooting for in this accidental parody of the empty absurdity of modern action films? Everyone is awful, or a human macguffin. This is soulless technical wankery bereft of humor or humanity.
Revisionist tale of the Australian folk hero rages against the dark forces that shaped him: emotional and economic neglect and abuse forged in patriarchy and colonialism. Electrifyingly punk and vulgar.
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