Nothing matters in this literal adolescent-male power fantasy, a cheesy mishmash of nonsense and low stakes. Anyone who needs at least a bit of meat in their superhero tales will be disappointed.
An indie ethos comes to the comic-book movie, upending the origin story and offering a female superhero who throws out the boys’ rule book, goes her own way, and stalks among us with easy confidence.
Accidental hilarity turns ugly in this baffling exercise in genre-hopping that thinks it justifies its Hollywood-typical adolescent-boy attitudes about women, sex, violence, and morality. It does not.
The demonic-possession subgenre isn’t exactly one crammed with quality cinematic experiences, but it hits a dull, unscary new low with this inept flick.
Too long, too convoluted, too sentimental, and too ridiculous. Some will say those are its good points. Will they embrace the homoeroticism too?
An absolute delight, even better than the first film; a gorgeously animated ode to sticking to your principles in the face of ultimate adversity.
Zulaikha suggested that we gaze at Djimon Hounsou. As if we could tear our eyes away…
There’s a little bit of Hammer horror in Julie Taymor’s messy but thrilling adaptation of Shakespeare’s last play, and there’s more than a little turning-of-the-tables, all of which brings a new perspective on the play, and a new appreciation for it, which is the best we can ask for the umpteenth adaptation of a centuries-old work.
Welcome to *THX 11-Michael Bay*! It’s not a science fiction movie, but an incredible simulation!