
Pan movie review: a disaster of fantastically epic proportions
An embarrassingly empty pastiche of numerous beloved action blockbusters, all frenetic action and soulless mishmashes of fantasy imagery.

An embarrassingly empty pastiche of numerous beloved action blockbusters, all frenetic action and soulless mishmashes of fantasy imagery.

The highlight is the absolutely astonishing “World of Tomorrow,” which crams in more SF ideas than you’ll find in a decade’s worth of summer blockbusters.

I fear that Peter Jackson has been suffering from a similar affliction to the dwarf king’s “dragon sickness”: a compulsive lust for epicness.

One of the best SF series ever deepens its critique of the power of propaganda in ways complicated, intriguingly contradictory, and a little bit horrifying.

Thrilling intellectually and viscerally, full of stirring notions of what humanity is capable of, and full of hope. A wonderfully refreshing sort of SF.

This is no stuffy costume drama but a richly lived-in visit to early-19th-century England that is rough, bawdy, often funny, and more often unsettling.

The animation is fresh, unique, and gorgeous. But we don’t need another tale of a man having exciting adventures while a woman waits around to marry him.

An audacious coming-of-age tale unique in the history of cinema; deeply moving and beautifully authentic.

Romantic in the grandest sense, a visceral and hypnotic experience of idealistic aspirations set against the desolate beauty and danger of the Outback.

A handsome movie in many ways, but it feels like an unpolished first draft, one that can’t quite decide how fantastical it wants to be.