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It’s not interested in a world absent the incalculably enormous impact of the Beatles. It’s just a lazy comedy of one running joke, a regular schmoe enjoying unwarranted success, and a blah romance.
The series’ saving grace is that, with humor and heart so beautifully wise and stunningly rendered (CGI pun intended), even as returns diminish, a new chapter is still warm and smartly entertaining.
An uncomfortably clueless portrait of societal privilege taking advantage of financial desperation. Matt Bomer is very effective as a man truly heartbroken, though.
Julianne Moore pulls off the small miracle of tamping down her own intense charisma while still imbuing the ordinary, unglam Gloria with lively verve and a dynamism of low-key resilience personified.
A rare treat: a perfect film. Smart, funny, wise, sparkling with wit both visually and in its snappy dialogue. A self-assured directorial debut from Olivia Wilde, confident and effortless. Pure joy.
Pure rerun of A Dog’s Purpose: Pooch Bailey returns again and again (again) in different bodies to love and serve his humans. A sappy tail, pleasantly daydreamy. I’m not crying you’re crying.
More movies like this, please: a piquant mix of whimsy and snark; an insistence that it’s not crazy to forge your own oddball path; an embrace of girly uncool. Bring on the weird, difficult women.
Like Drunk History but sober, a lively, arch, dryly comedic corrective to the traditional, heteronormative, patriarchal image of Emily Dickinson. Incredibly audacious and utterly delightful.
Nothing matters in this literal adolescent-male power fantasy, a cheesy mishmash of nonsense and low stakes. Anyone who needs at least a bit of meat in their superhero tales will be disappointed.
The most soulless of the live-action Disney remakes yet, weighted down by too many blah characters, too much convoluted plot, unconvincing CGI, and a message that doesn’t say what it thinks it does.
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