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Hollywood finds a way. To keep telling the same stories over and over again, that is. There’s too much going on in Fallen Kingdom, and yet somehow not enough, either. Still: dinosaurs!
A Star Wars–flavored juice drink* of a movie (*contains 10% real juice) that tells us nothing of significance we didn’t already know about Han Solo, in an incarnation that lacks his essential charisma and precarious danger.
This is the death of the comic-book movie. Or it should be. The savage, inhumane nihilism here says, Yup, comics haters are right: this is dangerous nonsense with no morality or redeeming qualities.
This sci-fi riff on the end of privacy is not as provocative as it would like to be, and its mystery completely falls apart in the end. But its visual worldbuilding is fascinating.
Ten years of Marvel superheroism culminates in a battle for the universe itself. Exhausting, bitterly humorous, and gripped in a stunning finality, it’s almost too much to take in, yet somehow not enough.
The science is ludicrous, the story is almost entirely free of drama, and the finale descends into the hoariest, most ridiculous clichés of the genre. But the future smart-house porn is lovely.
Raises the bar on big dumb fun, with The Rock’s social-justice-warrior badass and his genuinely charming relationship with a gorilla, plus a ton of goofball sci-fi monster action turned up to 11.
An apocalypse unlike any onscreen before. A film often almost unbearably tense, in part because it audaciously reconsiders the role sound plays in eliciting our emotional response.
A nightmare of nothingness, of empty, soulless wankery, that serves only to reassure male dorks that their pop-culture obsessions make them special, and will make cute girls like them.
Enormously likable characters make this feel like a big friendly rambunctious dog that you can’t help but get a kick out of, but it fundamentally misunderstands the appeal of its predecessor movie.
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