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The dorm-room philosophy of the 25-year-old series is still pondering how wild it is that we all die, how fragile our meatbag bodies are. Now with gory dismemberments and squishy impalements in IMAX!
Stark and unsentimental, as stubborn and as challenging as its protagonist, and as monumental as his works. Adrien Brody’s performance is extraordinary, full of flinty anger and palpable melancholy.
Hooray for Glen Powell’s star rising, but this absurdly coy movie — is it a sequel? a remake? — is a cowardly, reckless missed opportunity: it’s deeply baffling that it omits any hint of global warming.
This mess isn’t as clever as it thinks it is, and wastes the small charms of the delicious chemistry between Ryan Gosling and Emily Blunt. Feels like they shot a dashed-off first draft of the script.
A spineless dystopian action drama that defaults to a dangerously irresponsible both-sides-ism; its pretense of “objectivity” is unfair to the journalist protagonists the film thinks it’s championing.
2013’s Gravity is on Max in the US, Prime in the UK.
With human paradoxes at its nucleus, this is a riveting portrait, both intimate and epic, of the self-involved men who think they make the world go round… and too often, tragically, do.
Does IMAX make a film feel more like an event in a way that cannot be replicated even with the best home setup, or even in small multiplex screens? Or does IMAX come at too high a price?
The filmmaking craft may be (mostly) astonishing. But the craft must always — always — be in aid of a compelling story populated by compelling characters… and that’s not so much the case here.
There are delicious popcorn-movie vibes and horrors galore, both funny-suspenseful and stone-cold bone-chilling. But most intriguing is the twistiness of how the movie grapples with its own existence.
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