Bland, predictable cop and crime clichés lacking all urgency and any of the claustrophobia that should come from its high-concept premise. Shutting down Manhattan has zero impact on anything here.
Snappy Sorkin-esque banter, 80s nostalgia, and Hugh Jackman in a bad wig yet still hot as hell. But also an enraging, ironic look at how a reality-TV resume ended up becoming a legit qualification for the American presidency.
A clichéd loose-cannon cop is on a case of murdered women in faux Norway. And it’s not even a decent procedural. Sexist, pointless, thoroughly awful.
Unfocused like a 1970s cast-of-thousands disaster flick, and with little point beyond engaging in bland and easy propagandistic cheering. Boston deserves better.
So convoluted, confusing, and overly crammed that it’s overwhelming, and not in a pleasant way. But Ben Affleck’s autistic action hero is fascinating.
I have a terrible feeling of deja vu. I have a terrible feeling of deja vu. I have a terrible feeling of deja vu. I have a terrible feeling of deja vu.
Now with winners indicated.
If a movie must have a male protagonist and a male villain, fine. But must it also pretend that women barely exist in the world at all? [This post is not behind the paywall.]
If you didn’t think music could involve actual blood, sweat, and tears, this breathtakingly visceral coming-of-artistic-age drama will set you straight.
The Alliance of Women Film Journalists is one of the orgs for which I help choose year-end best-ofs.