
Beauty and the Beast (2017) movie review: ever just the same, never a surprise
Like a theme-park mounting of the 1991 cartoon, or the blandified pop version of an enchanting signature character tune. A watered-down pastiche of itself.

Like a theme-park mounting of the 1991 cartoon, or the blandified pop version of an enchanting signature character tune. A watered-down pastiche of itself.

Boiled down to its bonkers essence, Skull Island is a Vietnam war movie with monsters, a retro analog vibe, and a dash of both Moby-Dick and The X-Files.

Ominous signs and psychological detours get tossed out and tossed away on the path to ridiculous gothic nonsense that takes itself far too seriously.

My pick: “Pearl,” blending new VR tech with old-fashioned characters and emotions, demonstrating storytelling possibilities that are beginning to open up.

Plain pure fun. At its best, it’s Lord of the Rings meets Aliens, with incredible imaginative grandeur and genuinely breathtaking 3D depth.

My anger that women filmmakers doing a horror anthology is seen as a novelty almost overshadows my disappointment that these short films aren’t very scary.

Fresh feminist horror of a very welcome taboo-smashing kind. Nasty, hilarious, outraged and outrageous, and as poignant as it is blackly funny.

A great Batman movie, a great superhero movie, and a gloriously bonkers expression of the sublime silliness of crime fighters in capes, and our love of them.

What if “monster trucks” actually meant — wait for it — that there were monsters in the trucks? From an idea by a four-year-old (really), and it shows.

A fairy tale of the Grimm sort: no happy ending, no heroes or villains, just hard truths about life and human nature. Important, beautiful, heartbreaking.