Knee-jerk clichés abound in a shameless retread of The Matrix in which many levels of storytelling ineptitude are the only depth on offer. Can Hollywood please stop reincarnating the same old movies?
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.
I don’t see how the astonishing “Opera,” by Erick Oh, doesn’t win the Oscar for Best Animated Short. This is a stupendous achievement, a cartoon clockwork depicting life, the universe, and everything.
Everything a monster movie needs: Monsters, natch. Cute kids who Know Things. Nerdy-hot scientists. Spectacular sci-fi visions. Humor but no cheese. Warmth but no schmaltz. And a superb green message.
The Disney paradigm is hard at play again here, its familiarity offset by its inspiration in Southeast Asian culture and mythology. Sweepingly told, gorgeously animated, and audaciously optimistic.
The retro pastel optimism is ironic, but the dark stuff slips by in subtext. This bold, colorful tale, recalling classic superhero films, could be happening in a parallel universe… a much nicer one.
Acceptably inoffensive, if less than wholly engaging. At least Liu’s strong, stately Mulan is a wonderful role model for girls who aren’t much interested in conformity and adhering to expectations.
Pointless adaptation of the beloved children’s novel soaked in a gothic spookiness that seems to deliberately misunderstand the story. Neither literal enough nor magical enough. My heart was unmoved.
There’s plenty of bruising action, but this fantastic slice of comic-book pulp emphasizes the humanity of its immortal heroes. Gina Prince-Bythewood elevates the familiar with emotional authenticity.
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.