
Captain Underpants: The First Epic Movie review: a brief look at the long and the shorts of it
Sweet, subversive, and absolutely hilarious, at once a snarky superhero sendup and an unironically joyful celebration of friendship and imagination.

Sweet, subversive, and absolutely hilarious, at once a snarky superhero sendup and an unironically joyful celebration of friendship and imagination.

Simple, yet stupid. A magic box grants a teen wishes… that don’t come free. Apparently they’re not making eighth graders read “The Monkey’s Paw” anymore.

Three movies in, and this world of sentient driverless cars still creeps me out, and still does nothing except advertise a mountain of related merch for kids.

Everything about this joyful, sincere origin story feels like a retort — a very welcome and much needed one — to traditional male-centered superhero stories.

The franchise finally overstays its welcome with this cacophony of CGI spectacle, a contrived and confusing plot, and a newly cruel and stupid Jack Sparrow.

Derivative, rote, devoid of heart and hope. Guy Ritchie has found no reason to retell Arthur’s story, or to render a mythic hero as a self-serving thug.

Wonderfully strange and weird and funny and dark and bitter. A deliciously geek-flavored metaphor for how damaged people heedlessly spread around their damage.

An adventure crammed with junky slapstick and garish animation that seems to believe it is feminist, but only doubles down on Smurfily regressive notions of gender.

Muddy and muddled 70s-style backwoods gothic Americana only comes to life when it rises to the accidentally silly. Little more than an incoherent showreel.

Strange and melancholy, this genre-defying portrait of grief and loneliness puts Kristen Stewart’s onscreen persona of restive reluctance to very effective use.