Pixels movie review: blue screen of death (please)
Adam Sandler imagines himself as the savior of the planet. And then it gets even more puffed up with arrogance and all manner of masturbatory fantasy.
Adam Sandler imagines himself as the savior of the planet. And then it gets even more puffed up with arrogance and all manner of masturbatory fantasy.

This “homage” to 80s sci-fi/horror is a cheerless amalgam of The Thing and Alien populated by improbable characters behaving in unlikely ways.

Compassionate Australian drama about a teenaged girl’s sexual awakening that is complicated by her mother’s transgender transition to manhood.

Jingoistic propaganda and heart-tugging cornball melodrama about a dog with PTSD. It’s how we are Enduring Freedom. God bless America.

It shouldn’t be radical to see a movie treat a girl with this level of appreciation and understanding of her most intimate inner self. Yet it is.

There isn’t an authentic human motivation or emotion to be found here. The bar has been raised too high on comic-book movies for us to accept junk like this.

Riveting, terrifying, and unafraid to confront its own quiet horror. One of the most important movies ever about nuclear weapons and modern governance.

Listen as the world’s tiniest violin plays on the soundtrack of this utterly obvious and clichéd three-quarter-life crisis dramedy.

Descends into emotional idiocy and insufficient intrigue to end in a disgusting place that presumes that a woman is an appropriate pawn in games men play.

It does sort of feel like one of those rah-rah corporate promo videos they make you watch on the day you start a new job, but there are some surprises here.