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It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
A spineless dystopian action drama that defaults to a dangerously irresponsible both-sides-ism; its pretense of “objectivity” is unfair to the journalist protagonists the film thinks it’s championing.
Ugly, outrageous, brutal, and cynical; a genuinely terrifying film about power and politics as religion and control. There is little escapism here; hits square in the social plexus of horrifying 2024.
A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.
Unusually psychologically astute and utterly unnerving as it digs into the enigmas and anxieties of artistic creation. Style is substance in this challenge to the very concept of an “animated movie.”
It looks amazing and the cast is fab, but while this could-happen-tomorrow story wants to appropriate the magic of science fiction, it fails to think imaginatively about longstanding human problems.
A stark, haunting adventure, viscerally terrifying, full of despair, informed by the moral and philosophical quandaries of what it takes to sustain oneself in body and spirit in impossible conditions.
Oh, frabjous film! Bradley Cooper’s astonishing high-wire act feels classic and modern at the same time: immersive and impressionistic, breathtakingly bold. A kick in the pants to mainstream cinema.
The king of all monsters gets a period-piece reboot, and it’s the closest the series has gotten since to the sincere, unironic horrors of the 1954 original. No comfy escape from terrible reality here.
A great American filmmaker on a memory-holed chapter of American history at the intersection of colonialism and toxic masculinity. Massive, epic, and essential. Scorches the earth of our complacency.
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