
Thor: Ragnarok movie review: it’s only the end of the world
Breezy, jokey, crammed with clever sci-fi ideas; the funniest MCU flick yet. Director Taika Waititi brings a new geeky verve we didn’t realize the series needed.

Breezy, jokey, crammed with clever sci-fi ideas; the funniest MCU flick yet. Director Taika Waititi brings a new geeky verve we didn’t realize the series needed.

Almost hilariously terrible: absurd plot machinations, dubious politics, not a single character to care about. And it doesn’t even give good disaster porn.

Visually, this dying future world is immersively hellish. Intellectually, though, its ideas haven’t kept up with the rapidly evolving science-fictional conversation.

The reboot no one asked for of a movie no one much remembers has landed… and it’s dead on arrival, with nothing new to say and no new way to say it.

Quick takes from the 25th Raindance Film Festival, with public screenings in London through October 1st, 2017.

Save us from male artists who think they are dangerously, uniquely innovative. This stew of toxic masculinity and CGI-cartoon violence is nothing but tediously mundane.

An action masterpiece newly remastered in gorgeous 4K (and rejiggered for superfluous 3D) reveals how fresh it remains not only technically but thematically.

Toho’s reboot of its most famous kaiju is, amidst intense monster action, a bitter satire on bureaucracy and a cautionary tale about humanity’s collective folly.

There is barely an original thought in this wackadoodle sci-fi panto, just a lot of tiresome passé attitudes skidding among bug-eyed-monster set dressing.

A triumph of science fiction storytelling: a sweeping tale of mythological scope told with astonishing FX wizardry that brings emotion and intelligence to nonhuman people.