For all of its promise of neon lit cinematography and a thrilling new spin, there is nothing in “Spiral” that sets it apart from its predecessors.
“Nomadland” is simultaneously timeless and timely, standing tall as both a stunning indictment of America’s broken systems and a beautiful memoir of a woman wandering through badlands.
“Project Power” is entertaining enough to make do in a summer lacking major blockbuster thrills, but before long it will be lost in the shuffle of Netflix Originals.
Director Ciro Guerra’s latest film verges on becoming an awards contender, but ultimately falls short.
For a political comedy written by one of late night’s sharpest minds and featuring two stars as charismatic as Carell and Byrne, the finished product is seriously underwhelming.
Instead of blasting off into the upper echelon of modern TV comedies, “Space Force” falters upon reaching the upper atmosphere and ends up lost in the streaming shuffle.
There’s certainly artistic value to be found in pushing boundaries with disturbing content, but the more disgusting something is, the better the overall film must be in order for the subject matter to feel justified. In “Swallow,” that’s never accomplished.
“The Way Back” is a showcase for its leading man, with Affleck throwing raw emotion onto the screen. It’s a film that borders on greatness thanks to this inspired story and Affleck’s powerful performance.
While it may not be top-tier Pixar, falling somewhere in the middle, “Onward” hits all of the required marks for success – from the trademark stunning animation to the instantly likable characters, and of course, its deeply moving emotional measures.
Despite being overwhelmed by two films worth of exposition and plot condensed into one, “The Rise of Skywalker” provides enough satisfying moments to pass as an acceptable finale to the Skywalker Saga. It’s sure to be controversial, revealing rewritten answers to some of the franchise’s biggest questions, and perhaps raising more than it answers – but there’s enough fan service and nostalgia inside to make it work, as long as you don’t think too hard about what actually happens.
The biggest problem facing “A Beautiful Day in the Neighborhood” comes when Hanks is offscreen. During his limited time, he’s absolutely magnetic, but without him, things tend to drag.
When it comes to carrying on the tale of Anna and Elsa, “Frozen II” is fine, however, it does so in a way that’s devoid of any of the heart or purpose that made audiences fall for the story in the first place.
James Mangold’s “Ford v Ferrari” is a proper adult drama set at 200 miles per hour.
As simplistic and predictable as “Last Christmas” may be, it still gets the job done once you admit you’re ready to feel all warm and fuzzy and embrace the holiday season.
While it doesn’t channel the same horrors as its predecessor once did, “Doctor Sleep” provides an intriguing exploration of the lore and mythology at the heart of the series.
“Portrait of a Lady on Fire” plays out very much like the painting of a masterpiece. It takes its time, slowly sketching out the skeleton. Its movements are careful and tender. Eventually, the details are filled in, and all of the elements come together to create something greater than the sum of its parts.