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Stiflingly literal mounting of the classic feminist tale. Flat and stilted, with no cultural context and no visceral insight into its protagonist’s plight, and emptiness where there should be empathy.
Amusing but instantly forgettable, fueled by a self-congratulatory smugness and self-reference. The best bits are the sincere stuff: a scene-stealing Pedro Pascal and a sweetly vulnerable Nic(k) Cage.
Lovely, gentle look at an artwork honoring the marginalized. A compassionate challenge to cultural assumptions, including those that decenter the poor and insist that art is a luxury, not a necessity.
Spectacularly entertaining. As gripping, as suspenseful as a finely wrought fictional thriller; a sheer delight as a portrait of the man himself. Films don’t get much more daring or crucial than this.
A snappy, snarky, never-ever sentimental concoction of cartoon chaos meets hip heist flick. Its breezy swagger extends to the delightful animation, organic and mellow, hot and cool at the same time.
A screaming deluge of metal and rubber devoid of drama, suspense, and elegance. Instead it’s random vehicular chaos enacted with the same energy of a four-year-old smashing his toys into one another.
Poignant, pointed drama about a teenage Ukrainian gymnast fuses the personal and the political in a portrait of the spirit of Ukraine that is now being tested in the worst way. Incredibly affecting.
In a dry, dusty, desperate landscape, Zac Efron goes full grunge, effectively underplaying physical and psychological implosion. But there’s nothing unexpected in this brutal open-air chamber piece.
No snark, no spandex pantomime spectacle. Just noir mystery, Pattinson’s sad recluse a detective in a cesspit of corruption. Relentlessly grim, all darkness and despair, not escapist but of our time.
Not terribly disastrous… until it is. Then movie-movie melodrama gives way to eco-cataclysm and new realms of planetary existential nightmare. I cannot recall a movie’s ending haunting me this much.
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