Dishearteningly less concerned with giving Natasha Romanoff her own story than with setting up her MCU replacement. Superfluous, backward-looking, its bit of feminism belabored. She deserved better.
Washington and Pattinson have palpable charisma, but this cold puzzle offers no incentive to solve it. Throw in damsel-in-distress crap, and both my geek sensibilities and my feminism are offended.
The story of the women duped into *checks notes* killing Kim Jong-un’s brother is more bonkers — and sad, and gripping — than we’ve heard. Utterly fascinating; the stuff of a Hollywood thriller.
A “family” comedy about nuclear terrorism, the incompetent CIA agent on the case, and his 9-year-old sidekick. Desperately unfunny, thoroughly misjudged. We are in the worst and the dumbest timeline.
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.
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.
No movie has ever been higher-concept than this: Today-aged Will Smith versus CGI-young Will Smith! It’s the future of film in an anemic, tedious, ironically dated spy-action shell. Bafflingly awful.
Not a spy thriller but a story of emotional and intellectual suspense wrangling with matters of patriotism and of conscience, and of just how far journalism’s watchdog role can and should take it.
A stew of “hilarious” toxic masculinity and nonstop violence as the solution to all problems. Sexist, stupid nonsense, tediously familiar and wholly predictable. Even the cartoonish action falls flat.
There’s a lot of hot-button stuff going on in this A-bomb spy drama — politics, sexism, scientific ethics — but it’s all surprisingly inert, given the literal fate-of-the-world stakes.