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Writer-director John Krasinski’s absolute desperation to whip up magical whimsy utterly fails. No matter how he tries to force enchantment into existence, this is more fever dream than flight of fancy.
A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.
Nicolas Cage is comedic in a dry, subtle, nakedly painful way, playing with his “Cage rage” persona; his performance is profoundly moving. I only wish the film was more deserving of what he’s doing.
There is gentle nonstop chaos in the trippy candy-colored assault. Genuinely good-natured, sweet without being sappy, more strange (in a good way) than kids’ movies usually are, and hard to dislike.
A mysterious, mournful film about proscribed teenaged-girlhood and feral female sexuality. There’s nothing entirely original here, but what it has to say, it says with enormous confidence and panache.
Traditional folk music and beautifully animated mythic motifs may be rightfully validating for homegrown Ukrainian audiences, but there’s little else beyond that novelty to capture others’ imagination.
More of the same old religious-horror hoohah, plus Russell Crowe hamming it up, complete with terrible Italian accent. Its only twist on the usual exorcist-movie nonsense is genuinely pretty appalling.
A high-fantasy action comedy of tedious slapstick and obvious punchlines you scry the instant a wannabe medieval wag opens their mouth. It’s all borderline incoherent, sketched in cheap-looking CGI.
Many movies have attempted to replicate the festive insouciant brutality of Die Hard. No movie has come closer to this lofty goal than this dementedly delicious nightmare before Christmas.
A snappy, snarky, never-ever sentimental concoction of cartoon chaos meets hip heist flick. Its breezy swagger extends to the delightful animation, organic and mellow, hot and cool at the same time.
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