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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.
Poor Blake Lively does her de-glammed best in this poor Xerox of much better Turn The Urchin Into A Spy thrillers. But there isn’t a single human interaction in this hamfisted movie that rings true.
Strips away the ambiguity of the source story to leave us with lazy jump scares, visual gloom, and a cheap cheat of an ending. Gaslights its protagonist and, incredibly enragingly, the viewer, too.
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.
A very welcome feminist interpretation of Alcott’s beloved novel, layered in sly, winking awareness of Hollywood clichés and the cultural pressures on women. Alive and electric, an absolute treasure.
A terrific portrait of the legendary critic, as objective as she was proudly subjective. Pulls no punches on her complicated life and work but rightly hails how she revolutionized thinking about film.
A Cancer Movie but not a horror story. Funny, moving, hopeful; an intimate portrait of a couple who know how to support each other and why that matters. Oh, and it’s also a love letter to the NHS.
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.
An entirely entertaining murder-mystery jape; dryly funny, deliciously retro yet decidedly modern. Whenever you think you’ve got it figured out, it trips you up again… and you love it for doing so.
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