In the era of COVID and Brexit, much of this overstuffed adventure feels redundant, farcical, inconsequential, and desperate. But Ana de Armas and Lashana Lynch show us the way to a future for 007.
I’m obsessed with this British miniseries following one family through a dystopian 2020s. It’s completely harrowing, very nearly soul-crushing. Yet I cling to its tenuous optimism and profound beauty.
Guy Ritchie ups his game on his signature subgenre with a hilariously sublime crime comedy that acts as mirror on the legit world and oozes with crackling cynicism about culture and politics as well.
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?
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.
Like the book it’s based on, the worldbuilding is intriguing, but the characters and story are strictly cliché. A lazy, confused, and derivative disaster, with plot points and visual and thematic motifs shamelessly stolen from far better movies.
Two big new sections arrive on the site today, both excuses for me to review more — and more different kinds of — movies.
The saddest ever Regency cosplay. Behold, a tableaux of thespians who shall teach us about the Corn Laws! Well-intentioned this would-be epic may be, but it’s dull and dry as dirt.
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!
This slick gloss on the state of AI is frustratingly scattershot and won’t surprise anyone who has been paying attention. But its warnings about how we’ve dealt with huge and rapid scientific leaps before are worthy ones.