film criticism by maryann johanson | since 1997
Guy Ritchie ups his game on his signature subgenre with a hilariously sublime crime comedy that acts as mirror on the legit world and oozes with crackling cynicism about culture and politics as well.
I’m back for my 11th appearance and the start of my fourth year as a regular recurring guest commentator on this always-fun culture-chat program…
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.
Not a terrible excuse for entertainment, just very, very familiar, all paradigms that desperately require a shift, in Hollywood and in the real world.
Smart, sweet, gently funny, with a wonderfully exuberant voice performance by Matthew McConaughey that hints at fresh new realms animated movies can reach.
Filtering other people’s stories through the eyes of white men is tedious and offensive, and it feels like a desperate hedge against fresh perspectives.
A cringe-worthy jamboree of dimbulb manflesh that’s even more embarrassing than the first film.
Thrilling intellectually and viscerally, full of stirring notions of what humanity is capable of, and full of hope. A wonderfully refreshing sort of SF.
Cage finally gets away from his shouty, cartoony madmen, but it’s hard to shake the sense that this was laboriously constructed around him as a showcase.
I never could have predicted that I’d ever have any desire to gaze upon McConaughey. But recently, he’s been taking on challenging roles. And that’s sexy.
