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A terrific portrait of the legendary critic, as objective as she was proudly subjective. Pulls no punches on her complicated life and work but rightly hails how she revolutionized thinking about film.
Cluelessly simplistic rendering of a 1990s media injustice ignores all the context in which it happened and demonizes the one journalist who acted professionally. Fails even as a conservative screed.
It’s more of the same tedious nonsense, all action sequences bereft of excitement and body-swap comedy minus any real laughs. An abysmal lack of fun with stakes way too low to generate much suspense.
A Cancer Movie but not a horror story. Funny, moving, hopeful; an intimate portrait of a couple who know how to support each other and why that matters. Oh, and it’s also a love letter to the NHS.
Chinese film is coming for Western audiences, but this ludicrous thriller, full of coincidence and contrivance, ain’t it. Still, nice to see a global story that doesn’t center the US or Europe.
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.
There’s magic here, and elemental spirits, but no magic and nothing elemental, metaphorically speaking. Rote and smaller than its predecessor. Even the songs are bland and forgettable.
An entirely entertaining murder-mystery jape; dryly funny, deliciously retro yet decidedly modern. Whenever you think you’ve got it figured out, it trips you up again… and you love it for doing so.
This wonder of a film wrecked me. In the best possible way. It directly confronts cynicism and misanthropy, and asks us to let them go if we can. I really needed its message. The whole world does now.
Bland, predictable cop and crime clichés lacking all urgency and any of the claustrophobia that should come from its high-concept premise. Shutting down Manhattan has zero impact on anything here.
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