
Angel Has Fallen movie review: and it can’t get up
A sad retread of The Fugitive. Dumb, pointless, confused, full of contempt for its audience, and laughably unable to convince us that Gerard Butler is an acceptable stand-in for Harrison Ford.

A sad retread of The Fugitive. Dumb, pointless, confused, full of contempt for its audience, and laughably unable to convince us that Gerard Butler is an acceptable stand-in for Harrison Ford.

Pensively melancholy, this jagged, humane portrait of US Army whistleblower Chelsea Manning is a massive challenge to the notion of soldiering as a good way for a lost young person to find oneself.

This infuriatingly reductive biopic of the Hobbit author renders him as stolid and dull, and removes all the mystery and the wonder from creative inspiration. Literal-minded and free of magic.

A miraculous blend of grief and humor. Big, bold, brash, then sneakily meta. I am only starting to get my head around the emotional and creative right-hook of it. A fitting end (for now) to the MCU.

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.

I feared a portrait of human dumpster fire Steve Bannon would humanize him, but he’s beyond that. Can we use this inside look at his political and cultural manipulations to stop his fomenting of hate?

An indie ethos comes to the comic-book movie, upending the origin story and offering a female superhero who throws out the boys’ rule book, goes her own way, and stalks among us with easy confidence.

Post WWII upheaval is a cheap backdrop to beautiful people getting it on. Characters and situations are undeveloped, and there’s little genuine romance here, and too much laughable preposterousness.

Nostalgic yet not mindlessly retro, a heartfelt girl-and-her-alien-robot-car action-adventure dramedy that hits all the right notes. Hailee Steinfeld is terrific, and there’s nary a whiff of Michael Bay.

The plastic terror of The Polar Express melded with the kooky charm of Forrest Gump is a bad, sometimes outright icky, way to tell a tale of trauma and recovery, and does a disservice to Steve Carell’s sensitive performance.