
Get Out movie review: yes all white people
Shattering and deep-down bone-chilling. A viciously unsettling nightmare of race and privilege that carves out a much-needed paradigm shift for genre film.

Shattering and deep-down bone-chilling. A viciously unsettling nightmare of race and privilege that carves out a much-needed paradigm shift for genre film.

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.

The X-Men series — the entire superhero genre — has never seen a film like Logan before: raw, rageful, tormented, human. Best of the series yet.

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

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.

This sad mess of a vaguely sci-fi coming-of-age tale seemingly could not be more plugged into current fears, and yet it feels utterly irrelevant.

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.

After a few quick nods to the profoundly unethical act at its core, it shrugs it off and uses it as the basis for its fairy-tale romance. This is not okay.

There’s genuine fun here, but the humor is cynical, the heroics are tinged with regret, and it’s all delivered with a cold smack of — yes — political relevance.

Intelligent, intense, grownup science fiction that will thrill genre lovers and satisfy fans of moving human drama. A beautiful, thought-provoking film.