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Behold ladyrage given full candy-colored, sparkle-sprinkled voice in an ironically comical spectacle: Haha, isn’t this delightfully absurd? Or is it? This is kidding-not-kidding on celluloid.
Kudos to J.J. Abrams for doing something extraordinary: he has made me not care about Star Wars for the first time ever. I’m kind of relieved that it’s over, because it has stopped being fun.
It’s more of the same tedious nonsense, all action sequences bereft of excitement and body-swap comedy minus any real laughs. An abysmal lack of fun with stakes way too low to generate much suspense.
This plastic horror — horrifically, it’s a musical — is a head-smackingly dumb exercise in corporate filmmaking and mercenary marketing. So crass it makes me rethink my love of the toys themselves.
There’s magic here, and elemental spirits, but no magic and nothing elemental, metaphorically speaking. Rote and smaller than its predecessor. Even the songs are bland and forgettable.
Love and life are pain, the glitz and sparkle of Christmas are but a momentary reprieve from it, and everything is pretty much unrelentingly awful. But Emilia Clarke and Henry Golding are adorable!
A wonderfully unexpected sort of horror movie, beautiful and delicate, but unsettling, too, with an authentic plausibility to the dichotomy between the invented uncanny and the human response to it.
An apparently unfairly maligned “wicked witch” has to be redeemed again. Anyway, bitches be evil, crazy and traumatized, or sweet dumb personality-free near-morons. You know, for kids!
Lovely animation and gentle, kid-pitched life lessons can’t quite overcome the familiar feel of this E.T. retread, nor the forced sense of wonder that is more convenient crutch than anything organic.
This Norwegian family drama, tinged with fantasy and horror, depicts a teen girl’s emotional turmoil through fantastical, yet oddly pragmatic, reveries. Newcomer Ylva Bjørkaas Thedin is heartbreaking.
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