Messy sci-fi comedy, cheerful on the surface but nihilistic underneath, is utterly clueless about all the things it is almost about: AI, gaming, and the bread-and-circuses power of immersive worlds.
A movie to turn you off Going To The Movies, just as we are allowed to again, with its unlikeable characters, muddled action, and incomprehensible plot, all of which are magnified on the big screen.
Designed to cash in on the popular mobile game, this kiddie noir nevertheless sparkles with charming originality. Gentle enough for tykes but with satirical bite for grownups, too. Downright adorable.
This is the death of the comic-book movie. Or it should be. The savage, inhumane nihilism here says, Yup, comics haters are right: this is dangerous nonsense with no morality or redeeming qualities.
Reluctant-buddy action comedy feels like unfunny, warmed-over ’90s leftovers. Ryan Reynolds and Samuel L. Jackson look like they’d rather be elsewhere.
Callous, crass, unpleasantly smug. Supposes it’s being edgy because its protagonist swears a lot, but it’s like a child saying bad words just to be naughty.
A compelling character study of two intriguingly flawed people, the sort of richly observed drama that has gotten all but pushed out of mainstream cinema.
Glances at fundamental questions of identity and humanity and decides that they are best resolved via fistfights, gun battles, and car chases.
A deeply moving and very satisfying piece of entertainment that knits up seemingly disparate elements in a tapestry of family pain and pride.
A chipper woman-hating comedy about a serial killer… that wants us to feel sorry for him? This is disgusting, repulsive, and enraging.