film criticism by maryann johanson | since 1997
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.
Washington and Pattinson have palpable charisma, but this cold puzzle offers no incentive to solve it. Throw in damsel-in-distress crap, and both my geek sensibilities and my feminism are offended.
This plastic horror — horrifically, it’s a musical — is a head-smackingly dumb exercise in corporate filmmaking and mercenary marketing. So crass it makes me rethink my love of the toys themselves.
An iconic story from the classic era of the British cult TV favorite comes to US big screens for one night only… and the cleaned-up FX as well as its deceptively simple tale hold up rather well.
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!
We’ll be talking about director Cary Fukunaga, Netflix, Night School, Jodie Whittaker as the first female Doctor, rapper M.I.A., and a lot more.
Masterful. I had so much fun with this, often laughing out loud in relief when the tension of a breathless action scene finally broke. So why am I feeling a bit meh about it?
A nightmare of nothingness, of empty, soulless wankery, that serves only to reassure male dorks that their pop-culture obsessions make them special, and will make cute girls like them.
The slim charms of the previous movies have been tossed away in favor of cringe-inducing cattiness and a ridiculous plot. There’s barely even any music. Aca-palling.
Save us from male artists who think they are dangerously, uniquely innovative. This stew of toxic masculinity and CGI-cartoon violence is nothing but tediously mundane.
