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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.
Better than the unfunny first one, not as witty as the clever second one. But it has a bit of sly Brexit bite that is very welcome right now. Laugh until you cry!
Welcome to the first action movie of the Trump era, wherein civil liberties are a distant fantasy and “no man left behind” has been forgotten, yet this is all “a higher form of patriotism.”
Masterful. I had so much fun with this, often laughing out loud in relief when the tension of a breathless action scene finally broke. So why am I feeling a bit meh about it?
A same-old story of a white man’s angst, set against the “exotic” backdrop of 1980s war-torn Beirut. This brand of Hollywood myopia is tired, uninteresting, and no longer acceptable.
Ballerina turned whore-spy? This is like a cheap porn scenario, and the Hollywood gloss makes it worse. Risible yet tedious, yet another movie by men that thinks it’s critiquing misogyny yet is indistinguishable from it.
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