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A heist movie that is gripping and badass, elegant and assured. You could ignore all the social-justice-warrior stuff and just enjoy this as a popcorn thriller. But what makes this so special is how it reexamines the genre’s clichés.
A lazy, insulting xerox of better movies about Liam Neeson growling into cell phones at enigmatic villains. Devoid of tension and mystery, and rife with plotholes that derail the trip.
Goes well beyond the typical mindless array of slapstick and humiliation to reach disgusting new depths of coarseness. Not just appalling, but actually dangerous.
This overlong, underpowered tale of Christian martyrdom, in which iconography and allusion stand in for character, is a challenge to even the Scorsese faithful.
A fairy tale of the Grimm sort: no happy ending, no heroes or villains, just hard truths about life and human nature. Important, beautiful, heartbreaking.
Luminous and plaintive, Moonlight is emotional virtual reality, transforming a unique human experience into something universal and unforgettable.
It’s a prequel and a sequel! It’s got girl powerrr and lady-hating! It’s a mashup of Lord of the Rings and Frozen! It’s all these things, and less.
Enjoyably intense, if you can get past the cultural narcissism that Western corporate colonialism only matters when it impacts a nice white American family.
When movies like this star the likes of Liam Neeson, they open on 3,000 screens. It’s difficult not to see racism and sexism in the disparity.
Too long and too same-old, and even Liam Neeson’s effortless tough-guy charm can only carry this familiar-feeling film so far.
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