My choice has got to be Roland Emmerich’s disaster of a disaster flick, 2012. Honestly, I never tire of how stupendously, entertainingly awful it is.
Knee-jerk clichés abound in a shameless retread of The Matrix in which many levels of storytelling ineptitude are the only depth on offer. Can Hollywood please stop reincarnating the same old movies?
Ejiofor and Hathaway are game, but they’re grasping for something solid, and don’t find it. A deeply unsatisfying novelty artifact of the pandemic that fails to create a necessary sense of transgression.
There’s plenty of bruising action, but this fantastic slice of comic-book pulp emphasizes the humanity of its immortal heroes. Gina Prince-Bythewood elevates the familiar with emotional authenticity.
A flimsy treasure-hunt plot, a sexy song-and-dance number, and more of the same Elton John songs deployed with trite, lazy tedium. They mean to keep cranking out these dumb, dull movies, don’t they?
A fiercely feminist and proudly revisionist historical drama that offers a powerful and much-needed rebuke to modern Christianity. Enrapturingly beautiful and intensely emotional.
Busy with CGI to hide the emptiness where the emotional core should be. Even the mechanics of getting a man from mere mortal to demigod-in-a-cape are rote.
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How did a genre-smashing director make a heist thriller so generic, with characters too unlikable to be engaging but not twisted enough to be intriguing?
The 2009 Oscar-winning Best Foreign Language Film has been given a listless Hollywood makeover, one that wastes Chiwetel Ejiofor’s effortless sincerity.